VOCAL AND LITERARY 

INTERPRETATION 

OF THE BIBLE 



BY 

I 

S. S. CURRY, Ph.D. 



ACTING DAVIS PROFESSOR OF ELOCUTION AT NEWTON THEOLOGICAL INSTITUTION; 

FORMERLY SNOW PROFESSOR OF ORATORY, BOSTON UNIVERSITY, AND INSTRUCTOR 

IN ELOCUTION, YALE AND HARVARD DIVINITY SCHOOLS; PRESIDENT 

SCHOOL OF EXPRESSION, BOSTON 



INTRODUCTION BY 
FRANCIS G. PEABODY, D.D. 

DEAN OF THE DIVINITY SCHOOL OF HARVARD UNIVERSITY 



Nefo fgork 
THE MACMILLAN COMPANY 

LONDON: MACMILLAN & CO., Ltd. 
1903 

All rights reserved 



-p 



£> 



A 



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THE LIBRARY OF 
CONGRESS, 

Two Copies Receives 

SEP 30 1903 

-Copyright tntry 

CLASS GL KXc. No 

COPY 3. 



Copyright, 1903, 
By THE MACMILLAN COMPANY. 



Set up, electrotyped, and published October, 1903. 



Norhjooti $regg 

J. S. Cushing & Co. — Berwick & Smith Co. 
Norwood, Mass., U.S.A. 



TO THOSE 

WHEREVER FOUND 

IN WHOM 

THESE WORDS AWAKEN 

ANY MEMORIES 



PREFACE 

Who has not felt dissatisfaction with the way the 
Bible is read in public ? Yet few realize how difficult 
it is to render the Scriptures by the voice. 

Vocal expression needs the insight, criticism, and per- 
sonal attention of a teacher. Yet, since all true art is 
founded, not upon imitation, but upon principles, I hope 
that those who carefully follow the suggestions of this 
book will find practical help in realizing their needs and 
possibilities and aid in teaching the Bible to classes or 
interpreting it in the pulpit or on the platform. 

The book is intended for serious study, and not 
for entertainment. Accordingly, some repetitions have 
been necessary; for example, there are a dozen kinds 
of monotony, — some connected with change of pitch, 
others with pause, others with tone-color, others with 
inflection. All these varieties are distinct from one 
another, and if discussed at one time would hardly be 
understood. Again, the same passage is occasionally 
used as an illustration of more than one principle, to 
show the necessity of studying a lesson from different 
points of view, and also to emphasize the importance 
of the union of vocal modulations in expression. The 
student is recommended to select some important 
passage, such as John ix. or Luke xv. 11-32, and to 
test every principle, successively, by this one lesson. 



viii PREFACE 

No one should get the idea that some specific modula- 
tion or method of reading is applicable to only one 
verse or passage. 

There is no absolutely fixed method according to 
which any sentence of Scripture must always be read. 
Most passages are capable of many renderings, accord- 
ing to the understanding, feeling, and personality of 
the reader. The interpretations of specific passages, 
and modes of rendering them, must be taken as sug- 
gestions or illustrations of principles. It is always 
helpful to realize a definite point of view. A principle 
can be illustrated best by specific examples of expres- 
sion, and in every case the reader should test the 
rendering by actual practice. An interpretation should 
never be passively accepted. Not only the particular 
renderings suggested, but others, should be observed 
and brought to the test of demonstration. 

During the past twenty-five years, the writer has 
endeavored to aid many to read the Bible aloud. If 
the reader feels that the results here embodied are 
inadequate, let him rest assured that no one will 
agree with him more quickly than the author. It is 
well, however, to remember that the book has had 
no predecessor. A few words on the neglect of vocal 
interpretation, or a short article on its importance, are 
all that can be found. 

The author's greatest debt is due to those now pub- 
licly reading the Bible in all parts of the world whom 
he has endeavored to teach. Their earnest endeavors 
have been the author's chief inspiration and help. 



IN GENERAL 

I. THE OFFICE 

I. The problem of Bible reading will be best understood by first 
studying the function of the Bible in Worship. A service consists 
of three offices : The leader speaks in (i) the Sermon as man to men ; 
in (2) Public Prayer as man to God ; but in (3) the Scripture Les- 
son from God to man. 

II. The ideal function is made clearer by observing the Custom 
and Practice. Bible reading was the most important element in 
the worship of the early Church, but it is greatly neglected at the 
present time. 

III. To find a method of improving Bible reading, the General 
Nature of Vocal Expression should be understood. (1) A 
few simple Elementary Modulations of the Voice form the reader's 
vocabulary. A pause before a phrase shows attention or the recep- 
tion of the impression ; touch indicates where the mind is concen- 
trated ; a change of pitch, the discrimination of idea from idea ; 
inflection, the attitude of the speaker or his sense of the relation 
of ideas to each other, to his purpose, or to his audience. Feeling 
is manifested by tone-color or the emotional modulation of the reso- 
nance of the voice; while movement changes according to the 
reader's estimate of the value of what he says. (2) Vocal expres- 
sion is the revelation of realization, and the problem of improving 
it differs from that of words. Vocal expression, and especially the 
vocal interpretation of the Bible, is subjective and difficult, but 
strangely neglected. 

II. THE MESSAGE 

IV. The Literary Spirit, or the human form of the Bible, must 
be understood before it can be realized or expressed by the voice. 



x IN GENERAL 

Vocal expression demands a childlike attitude, free from theories. 
The reader must have critically studied and assimilated its deeper 
spirit. The Bible must be interpreted by the whole man. 

V. The Story, or the Narrative Spirit, is found all through 
the Bible; and the power to interpret it by the voice must be 
carefully mastered. 

VI. The Bible is full of instruction and the Didactic Spirit. 
The reader must make his hearer think, and give truth as simply 
and directly as possible. 

VII. All forms of human expression are found in the Bible. The 
Oratoric Spirit, the endeavor of some earnest soul to lead his 
fellow-men to higher convictions, appears everywhere, especially in 
the addresses, or sermons, of the Prophets, of Paul, and even of the 
Master. 

VIII. In all early literature literal facts, or stories, were related 
to indicate deeper meaning. The Allegoric Spirit permeates 
the Bible more than many realize. It demands that vocal expres- 
sion be very simple and suggestive. 

IX. The Lyric Spirit reaches its greatest climax in the " sublime 
lyric" of the Bible, and its interpretation demands a quickened 
imagination and exalted feeling. 

X. The Bible interprets human character, and hence is filled with 
the Dramatic Spirit. The intense realization of situation, human 
motives, or difference in point of view, should be rendered by the 
reader with sympathy and simple truthfulness. 

XI. The sublimest element in human poetry is the Epic Spirit. 
The dramatic demands that the reader shall enter into sympathy 
with his fellow-men, the epic that he shall be himself, and be 
impressed by events in relation to the ideals of the race or to the 
plans of the Creator. The whole Bible is necessarily full of the 
epic spirit. 

XII. The hardness of the heart and the difficulty of teaching 
human souls a higher truth, required of the Master an Artistic 
Method. He expressed an unrealized truth in a form that could 
be grasped and held until it would awaken gradually a realization 
of the truth. The vocal interpretation of such an art demands 
great suggestiveness and artistic intensity. 

XIII. The Literary Forms have not been invented, but are 



IN GENERAL xi 

natural, and must necessarily be revealed by Vocal Expression. 
The reader must comprehend the artistic nature of man and the 
suggestive power of the human voice to intimate the sublimest 
truths. 

III. THE TECHNIQUE 

XIV. To improve vocal expression the reader must be led to 
comprehend and master the Rhythmic Actions of the Mind. 
Attention and the progressive movement of the mind must be 
increased. 

XV. The rhythm of thinking is revealed by the Rhythmic 
Modulation of the Voice. The fact that the mind is receiving 
any impression in reading or speaking is shown by (i) pause. The 
location of the concentration of the mind is indicated by a definite 
(2) touch upon the central word of the phrase. The rhythmic 
movement of thinking shows itself by (3) phrasing, or the gathering 
of words into groups around the centre of attention. 

XVI. The mind not only moves from idea to idea, but has Dis- 
crimination between ideas. This is of primary importance in 
thinking and expression. Each idea must be vividly and definitely 
grasped. 

XVII. Every Change in Idea is shown by a Change of 
Pitch. This variation of pitch is so simple, natural, and free that 
it is often overlooked. The degree of variation is in proportion 
to the vividness of ideas, and the accentuation of discrimination 
of thinking is the primary means of preventing monotony — the 
most common fault in Bible reading. 

XVIII. The mind not only has rhythmic succession, but relates 
ideas to each other. This Method in Thinking is the result of 
the deepest and most exalted action of human reason, and demands 
attention in reading. 

XIX. This logical instinct, or power of relating idea to idea, is 
shown by Inflection, (i) Direction of inflection indicates the 
attitude of the speaker's mind toward truth. (2) Length of inflec- 
tion shows the degree of earnestness, or saliency. (3) The abrupt- 
ness of inflection, the degree of control with intensity of excitement. 
(4) Straightness of inflection is in proportion to the dignity, 



xii IN GENERAL 

weight, and directness of the expression. (5) Inflections are 
improved by developing the logical action of the mind. 

XX. The free expression of Method is shown by what has been 
called Melody. While every word has an inflection, all the words 
of a phrase are gathered by these inflections around the governing 
one. This constitutes (1) Conversational Form. The reader must 
be as free and flexible in revealing the great centres of attention as 
in natural conversation. One important element of conversational 
melody is found in (2) Subordination. This is especially apt to be 
violated in Bible reading. One of the greatest difficulties is to place 
unemphatic parts in the background. Melody demands the greatest 
possible (3) Range. The simplest and most common as well as 
the most extreme changes in thought must be indicated by cor- 
responding changes of pitch. This is the chief element in natu- 
ralness. Violations of the natural melody of the voice have 
been called (4) Ministerial Tunes. These must be conquered by 
genuineness of thinking, by increasing the definite attention to 
individual ideas, and by intensely and directly relating each idea 
to the whole truth. 

XXI. The reader of the Bible must indicate, by the modulations 
of his voice, the Argument. The degrees of prominence given to 
ideas are infinite in number. A real understanding of the passage 
and a command of the modulations of the voice, enable the reader 
to present the exact progression of the thought in the most weighty 
and difficult passages. 

XXII. The Imagination has an important Function in finding 
the ideal relations and sympathetic bearings of truth. Ideas must 
be given with atmosphere and kinship to the human soul. Genuine 
feeling is chiefly dependent upon the imagination, for sympathy is 
due to insight. 

XXIII. The presence of Imagination in Expression is shown 
by a more delicate and sympathetic union of all the modulations of 
the voice. Tone-color, or the sympathetic modulation of resonance, 
is its more specific language. Sameness of emotion must be char- 
acterized by more definite and intense imaginative realization and 
sympathetic use of the voice. 

XXIV. The reader must not only have thought, but experience ; 
must not only think and imagine, but feel, and must be true to his 



IN GENERAL xiii 

whole nature. He must adopt a definite point of view and realize 
a truth so vividly that it must awaken the right emotion. The 
dramatic, or sympathetic, instinct must lead the reader to identify 
himself with every situation, point of view, or shade of experi- 
ence. This instinct is especially necessary in interpreting the 
many transitions found in the Bible. 

XXV. The rhythmic pulsations of thinking and feeling are con- 
tinually varied, and express themselves by modifying the Movement 
of speech. The reader must reveal the relative importance of ideas, 
sentences, and paragraphs. He must distinguish what he approves 
from what he disapproves, what he regards as negative from what 
he regards as positive, what is merely illustrative from what is 
central. Movement indicates the genuineness of life and realiza- 
tion. Monotony of movement indicates indifference, neutrality, or 
death. 

XXVI. The Voice Modulations are always in Union with one 
another. To overwork one is to be unnatural. To exaggerate one 
at the expense of others is not emphasis, but chaos. While accen- 
tuation of one is necessary, this demands also sympathetic and sub- 
ordinate increase and union of the others. There is danger in 
exaggerating some one method of emphasis. 

IV. PREPARATION AND THE SERVICE 

XXVII. In addition to a general knowledge of the spirit of the 
Message and the elements of vocal expression, such attention should 
be given to the Selection and Arrangement of passages that the 
Lesson may have unity. 

XXVIII. A lesson should be thoroughly understood, and needs 
special Preparation every time it is read. 

XXIX. In preparing the lesson, the reader can secure great 
assistance by study of the Spirit of the Greek. Peculiar shades 
of meaning, which cannot be translated into English words, can 
be interpreted by the voice, but the Greek must be studied in the 
spirit, and not in the letter. 

XXX. The natural actions of the mind are reflected in the 
primitive Spirit of the Hebrew. The same principles apply, but 
repetition has special force. 



xiv IN GENERAL 

XXXI. The reader should use artistic tests for Self-criticism. 
He must be simple and truthful. The lesson should have unity, and 
all modulations must harmonize. Every modulation must be accen- 
tuated in such a way as to cause strength, not weakness. All true 
reading must be reposeful and suggestive. 

XXXII. Responsive Reading is different in its vocal expression 
from other modes of rendering the Bible. It demands careful 
accentuation of rhythm and great decision of movement. 

XXXIII. Some readers are troubled with Special Questions. 
No one version is adapted to all. On the whole, the American 
Revised is best, or one should be arranged carefully by the reader 
himself. The whole body should be expanded by emotion, and 
the attitude should express the feelings ; but there should be no 
motions or superficial modes of expression. 

XXXIV. The relations of the Scripture lesson to The Service 
should be carefully studied. The best illustration of the different 
elements of worship and their relations is, possibly, the Book of 
Common Prayer. The outgrowth of the experience of Christian 
leaders in all ages, as embodied in this and other services, should 
be carefully analyzed. 

XXXV. The reader must be permeated with the spirit of the 
passage. He must command the thought, the literary form; but 
most of all, the right feeling toward the truth must permeate his 
being. A thorough study of the problem is needed for simple 
mastery. Of all exercises, the reading of the Bible takes the 
deepest hold upon the human heart. 



INTRODUCTION 

Few persons who have had any share in training 
men for the Christian ministry have escaped a sense of 
failure in teaching their students how to read. No pro- 
fessional duty would seem to be more elementary. The 
Bible is so rich in dramatic, lyrical, and narrative inter- 
est, and the preacher is so warmly concerned with the 
Biblical message he has to bring, that nothing beyond 
reasonable intelligence would appear to be needed to 
make the Bible lesson a stirring, calming, or convincing 
element in public worship. Most listeners, however, 
would testify that no part of worship is, as a rule, so 
perfunctory and uninspiring. Very rarely are there the 
marks of careful study, spiritual sympathy, and inter- 
pretative power. It often seems as if the Bible had 
been hastily thrown open at the lesson for the day or 
the passage containing the text, and as if the preacher's 
preparation had been reserved for what he conceived to 
be the more important task of delivering his own dis- 
course. There is, as this volume remarks (p. 294), not 
only "hard shell " preaching, but "hard shell" reading. 
Congregations, as the Prodigal Son said of himself, 
would fain be filled with husks, and no man gives to 
them. The reading of the Bible seems a part of what 
are sometimes described as " introductory exercises," re- 
quiring, however, little exercise of mind by the preacher 



xvi INTRODUCTION 

and great exercise of patience by the congregation. I 
have even heard it argued that the Bible ought to be 
read in an artificial, lifeless, or stilted manner, lest its 
contents should be confounded with ordinary literature. 

If the Bible has to endure in many ministers the 
results of carelessness, indolence, or misplaced rever- 
ence, it often suffers not less from histrionic art. Where 
elocution has been cultivated by preachers, it has usually 
been under teachers who care more for Shakespeare 
than for the Bible ; and the consequence is often bad 
acting of the Bible as drama, instead of good reading 
of the Bible as literature. If anything is worse in the 
pulpit than slovenliness, it is excess of art. One who 
reads badly gets no attention, but one who reads too 
well calls attention to his own performance ; and it is 
better that the Bible reading should be a time of con- 
gregational repose than a time of theatrical effort. 
How to interpret intelligently but not extravagantly, 
with sympathy but without artificiality, the varied mes- 
sages of the Bible, becomes, then, for the preacher a 
serious duty, and is becoming almost a lost art. Of few 
modern ministers can it be affirmed, as it was said of 
Channing, and as no doubt it has been said of many 
spiritual leaders, that to hear him read the Bible was to 
be admitted to the very sources of religious power. 

What are the qualifications for such reading ? They 
are of two kinds. On the one hand are the untaught 
gifts of discernment, refinement, wisdom, self-efface- 
ment, sympathy. No professor of elocution can make 
an effective Bible-reader out of a light-minded, conse- 
quential, self-assertive, or sentimental man. Reading is 
an extraordinary revelation of character ; and it would 



INTRODUCTION XV11 

surprise many a minister to be told with what precision 
his reading of the Bible betrayed affectation, or hard- 
ness, or indolence, or conceit. On the other hand, there 
are many traits of effective Bible reading which can be 
easily acquired by a teachable man. He can be saved 
from artificiality, corrected in blunders, disciplined in a 
rational use of the voice, restrained from employing the 
nose or throat as organs of expression, and, more than 
all, encouraged to take pains, and to be ashamed of 
appearing before his congregation with a Bible passage 
unstudied, haltingly delivered, or misunderstood. 

It is a satisfaction to commend a book which ap- 
proaches its subject with this rational intention, and 
which is, I think, both in its method and its spirit prac- 
tically without precedent. Dr. Curry has not only long 
experience in dealing with the technical needs of 
preachers, but sympathy with the ideals of the profes- 
sion. His instruction has been marked by sanity, mod- 
eration, adaptability, and an acquaintance with the Bible 
which goes far beyond its language and form. He now 
presents in a single volume the experience of a life- 
time ; and his teaching should bring to many preachers 
instruction, suggestion, warning, and courage. 



FRANCIS G. PEABODY. 



Harvard Divinity School, 

Cambridge, Mass. 

September, 1903. 



CONTENTS 

I. THE PROBLEM 

CHAPTER PAGE 

I. The Bible in Worship 3 

II. Custom and Practice 17 

III. General Nature of Vocal Expression ... 24 

II. THE MESSAGE 

IV. The Literary Spirit 43 

V. The Narrative Spirit 59 

VI. The Didactic Spirit 67 

VII. The Oratoric Spirit 71 

VIII. The Allegoric Spirit 83 

IX. The Lyric Spirit 86 

X. The Dramatic Spirit 93 

XI. The Epic Spirit 104 

XII. The Art of the Master 117 

XIII. Literary Spirit and Vocal Expression . . . 133 

III. THE TECHNIQUE 



XIV. 


Rhythmic Actions of Mind 


• 139 


XV. 


Rhythmic Modulations of Voice 


• 143 


XVI. 


Discrimination in Thinking 


. . 156 


XVII. 


Change of Ideas and Pitch 


. 160 


KVIII. 


Method in Thinking .... 


. 167 




xix 





XX 



CONTENTS 



CHAPTER 




PAGE 


XIX. 


Inflection 


. 172 


XX. 


Method and Melody .... 


. 184 


XXI. 


The Argument ..... 


. 197 


XXII. 


Function of the Imagination . 


212 


XXIII. 


Expression of Imagination 


. 224 


XXIV. 


Assimilation or Sympathetic Identification 


• 233 


XXV. 


Movement ...... 


• 244 


XXVI. 


Correlation of the Voice Modulations 


. 258 



IV. PREPARATION AND THE SERVICE 



XXVII. 


Selection and Arrangement of the Lesson 




287 


XXVIII. 


The Preparation of the Lesson 




293 


XXIX. 


The Spirit of the Greek 








298 


XXX. 


The Spirit of the Hebrew 








3ii 


XXXI. 


Self-criticism 








317 


XXXII. 


Responsive Reading 








328 


XXXIII. 


Some Special Questions 








33i 


XXXIV. 


Harmony of the Service 








337 


XXXV. 


The Reader's Attitude . 








355 



I 

THE PROBLEM 



I. THE BIBLE IN WORSHIP 

Public worship includes at least three elements in 
which the minister must lead. These are the sermon, 
prayer, and Scripture reading. They not only call for 
difference in the attitude of mind in thinking and feel- 
ing, but require diverse expression by the reader's voice. 
The sermon has its own importance, at times exaggerated 
in public thought ; every one feels that prayer is not to 
be voiced in tones of argument or discussion ; but the 
function of Scripture reading and the true method of 
its expression seem to be little considered or wholly 
misunderstood. 

In studying this neglected part of public worship it 
will be helpful first to consider briefly the general nature, 
function, and right vocal expression of the sermon and 
of prayer, and to compare them with the reading of 
the Scripture. This will not only aid in giving a more 
adequate conception of the peculiar character of the 
Scripture lesson, but will tend to correct the view that 
expression is an external and arbitrary thing. Form 
and spirit must be studied together. Expression grows 
naturally and inevitably out of the reader's own grasp 
of the meaning of that which he communicates to others. 
It is not a veneer applied by mechanical rules from 
without. It expresses the knowledge and emotion of 
him who uses it, as naturally as leaves express the life 
of the tree. 



4 THE PROBLEM 

I. The Sermon. — The preacher must be a man to 
men, and speak out of his own experience. The whole 
spirit of a sermon must centre in his personal realization 
of life. 

Professor Granger, in his study of the Psychology of 
the Religious Experience, has shown that a sermon rarely 
affords a basis for the study of experience, because it 
seldom reveals sincerely " the soul of the preacher as it 
is in the sight of the Eternal." A sermon endeavors to 
comfort and console, and the preacher is carried beyond 
his own experience by his desire to make an impression. 
Yet Professor Granger, while making these qualifica- 
tions, suggests that there have been preachers who 
made their own interior life " the key by which to un- 
lock the hearts" of their auditors; who, having been 
sincere with themselves first, have then spoken as men 
to men. But this can be done only in the language of 
the soul, a dialect which each must construct for him- 
self, "from his own heartstrings." 

The best sermon is that which has in it most of 
human experience. There must be no urging of author- 
ity, or mere presentation of theories and views. What- 
ever is said must come from the soul of the man. In 
the same way, the true delivery of a sermon is the 
presentation of the man himself with his truth. The 
natural modulations of the voice reveal not so much the 
product as the processes of thinking and feeling. The 
study of delivery is really the study of the relations 
between what is said and the speaker's own nature and 
character. The qualities which make delivery effective 
are sympathy, earnestness, and seriousness. The true 
preacher must be able to enter into sympathetic relations 



THE BIBLE IN WORSHIP 5 

with all phases of human experience. The less a man 
is isolated, the more complete his realization of spiritual 
truth. It was the first murderer who asked, "Am I 
my brother's keeper ? " 

In proportion to a man's power to feel the common 
experience of the race as revealed in the depths of his 
own nature will his spiritual teaching become natural 
and effective. " The seer is always the sayer." In 
proportion to a man's insight, in proportion to the depth 
of his feeling, will he be able to speak truth for comfort 
and help to his fellow-men. That is a sentimental and 
false teaching which declares that when the soul comes 
into a realization of the Divine it is separated from the 
world, becoming a mere spectator of the human drama 
and losing interest in the struggle of the race. The 
true and deep life of the soul shows itself in love for 
others in a desire to raise the fallen, to strengthen the 
weak, and to inspire the faint-hearted. The soul of the 
true preacher must realize the omnipresence, the omni- 
science, and the omnipotence of the Divine Spirit in 
human life, must realize that the Creator's plan is love 
and providential care, and that men have infinite 
possibilities. 

Delivery is an essential part of a sermon — no true 
sermon can be completely printed. Whitefield was per- 
haps the most effective preacher who ever used the 
English tongue ; but his sermons are almost unreadable. 
Words are but imperfect and one-sided symbols of truth ; 
the living action, the throb of the soul's life, which are 
revealed through the modulations of action and tone, 
can never be recorded. 

Yet the delivery of the sermon is more simple than 



6 THE PROBLEM 

any other mode of vocal expression peculiar to the 
pulpit. Oratory is expanded conversation, the exten- 
sion of the range of voice as found in everyday speech. 
When faults occur in the delivery of the sermon, there 
is some departure from the elemental modulations of 
conversation. The minister can at any time compare 
his public speaking with his conversation. Any man 
with a tendency to drift can correct this fault in a meas- 
ure by addressing men in a direct and simple way, 
enlarging for his congregation the natural method 
employed in speaking to one. 

We must not infer, however, that the development of 
oratoric delivery does not require hard work. These 
elementary modulations of the voice in common conver- 
sation need to be studied thoroughly, the function of 
each realized, and the harmonious union of all mastered. 
In extending the elements of conversational form many 
enlarge some of the weaker factors, such as loudness, 
and eliminate changes of pitch, pause, and inflection, 
and develop unnaturalness. No element of conversa- 
tion should be absent. The higher modulations of tone- 
color and variation of movement should be still more 
accentuated, together with straightness of inflection. 
But conversation must always be the basis ; and the 
remedy for defects must ever be found in giving the 
thought as directly as possible to one person and noting 
the natural modulations of everyday speech. 

2. Public Prayer. — Public prayer is one of the most 
difficult of all the functions a minister has to discharge. 
Fewer attain success in this than in any other part of 
the service. According to President Eliot, it was the 
prayer of Phillips Brooks when Lowell's " Commemora- 



THE BIBLE IN WORSHIP 7 

tion Ode " was read at Harvard which made men feel 
that he was a great spiritual leader. Those who heard 
that prayer ever afterward regarded him as one of the 
spiritual forces of the age. 

Prayer is not primarily petition. No soul can talk to 
another soul as it can to God, who is, as Augustine has 
said, "the life of our life." To many the primary idea 
of prayer is simply the asking for something which we 
do not have, and too often it is a kind of spiritual beg- 
gary or even worse. Prayer, in its essence, should be 
the soul's realization of its vital relation to the universal 
and indwelling Spirit. 

Mrs. Browning has said that in the deepest agony the 
soul's only prayer is " O God ! " because we want God 
Himself rather than anything He can do for us. Some 
one is sick and far from home. There is a longing for 
the mother — not for her services, that she may watch 
by night and day, but for her simple presence. So the 
deepest aspiration of the human soul is for a conscious- 
ness of the infinite Presence, for a realization of Spirit, 
an awareness of that Being " whose centre is everywhere 
and circumference nowhere." The deepest of all prayers 
is, " Thy will be done " (Matt. vi. 10). Here is no ob- 
jective petition; all is subjective. The finite soul seeks 
to relate its consciousness to the eternal consciousness. 
Aspiration can go no farther. 

Prayer is the manifestation of receptivity. It is pri- 
marily a willingness and an aspiration to receive. God 
cannot be persuaded ; no one with an adequate concep- 
tion of the nature of divine love believes in his heart 
that He needs persuasion. Prayer reveals the attitude 
of the human being. It manifests the mystic relation of 



8 THE PROBLEM 

the soul, face to face, with that which cannot be seen, 
with the Infinite through that door of consciousness which 
opens inward to the spiritual Presence. 

Prayer, as a part of public worship, differs from all 
other modes of expression. A long verbal prayer giving 
information to Deity is irreverent. It is to be hoped 
that the religious consciousness in the churches may be 
so developed that a prayer containing the news of the 
week, or a long catalogue of petitions for things which 
are not expected, and which, if granted, would produce 
astonishment, will be regarded as blasphemous. Is the 
prevalence of such a custom, one of the causes, or one 
of the signs, of the lack of reverence and true spiritual 
insight in our time ? 

One of the common faults in public prayer is the ap- 
parent conception of a Deity external to the soul. We 
must feel not only that God is near but that He is 
within. " The kingdom of God cometh not with ob- 
servation " (Luke xvii. 20), not outwardly or with show. 
The Spirit is working within to will and do. " In Him 
we live and move and have our being " (Acts xvii. 28). 
He is everywhere, not as a mere external presence, — 
He is everywhere, the indwelling source of all life. God 
is immanent. He is not a being who is above the world, 
beyond human conception, to which the soul must call 
from a distance, from a far country. 

To lead others in prayer, to lead them to spiritual 
communion, a man must believe that God is omnipresent, 
and as much in his own soul as anywhere else in the 
universe. In the words quoted by Paul (Rom. x. 6-8) 
from Deuteronomy (xxx. n-14), the leader of public 
prayer must feel that "The word is nigh thee, in thy 
mouth, and in thy heart." 



THE BIBLE IN WORSHIP 9 

All prayer is lyric in its substance and spirit. c The 
fundamental element in lyric poetry is the exalted emo- 
tional realization of a single idea or situation? Can any 
one fail to see that prayer is different from preaching ? 
Preaching is objective, — the direct talking of one indi- 
vidual with others. It is soul thinking with soul, one 
human being exhorting another. But prayer is aspira- 
tion ; it is an unseen mystic communion, and purely 
subjective. It cannot be objective. Even public oir 
common prayer must be the leading of souls to loolq 
within, to find the infinite Spirit, to realize the universal) 
infinite Presence. 

Notwithstanding this important distinction, the vocal 
expression of prayer, the modulations of the voice, and 
evidently the mental actions are too often the same in 
prayer as in the sermon. The inflections are often col- 
loquial and careless. 

Some clergymen adopt cold and meaningless forms, 
phrases, or tones, unconsciously absorbed from others. 
The constant repetition of the name of Deity shows a 
failure to realize the true subjective and mystic character 
of devotion. The sublimest prayers rarely use the con- 
ventional names of Deity. The calling of a name with- 
out making the congregation realize what it means must 
be very close to profanity. 

Prayer as a mode of utterance belongs to vocal ex- 
pression, and the highest possible act of expression 
is to suggest the soul's conception of the character of 
God. The Spoken Word is the one mode of expression 
that can do this. Its sublime dignity as an art is shown 
by the fact that no words, no attitudes, no actions, can 
intimate so well the soul's realization of the Infinite and 



10 THE PROBLEM 

the Eternal. It is not words that make prayer but the 
attitude of the soul ; and this is revealed by modulations 
of the voice. The words must be simple and suggestive. 
They are, of course, necessary, but they may be spoken 
so as to indicate that the heart of the man, at that par- 
ticular instant, is not thinking or realizing the ideas 
implied. The voice manifests the soul and its relations to 
God. The word is but a simple representation of the idea. 

If the nature of the prayer is in itself rarely under- 
stood, the vocal expression of prayer is still more diffi- 
cult. The subject needs careful and thorough illustra- 
tion. Prayer can hardly be practised as a form of vocal 
expression, for criticism, or as a special problem. The 
best method is to practise some poem embodying prayer, 
or to read aloud devotional portions of the Bible. It is 
easy to explain to a man the delivery of a sermon, 
because this is on a more human plane. But it is far 
more difficult to show how the genuine prayer of the 
soul is expressed by the voice. 

Prayer is always suggestive and subjective. As the 
noblest aspiration of the soul, it calls for the most spir- 
itual modulations of the voice and deepest unity of 
all the elements of naturalness. The outward test of 
whether the man is praying or not is shown by vocal 
expression, for prayer is an attitude of soul. 

3. The Scripture Lesson. — This is distinct from the 
sermon and the prayer, and yet not less important. In 
the sermon a man speaks to men ; in prayer he speaks 
as man to God ; but in the lesson he must realize that he 
is interpreting God's revealed will, and manifesting the 
sources of his own authority. He must in some sense 
voice God's message to men. 



THE BIBLE IN WORSHIP II 

Every devout soul believes that the Bible is somehow 
the embodiment of revelation, — that the most human of 
books is for this very reason the most divine. In it we 
find the record of the human race, successive stages of 
culture, successive conceptions of God, and the succes- 
sive rebellions and degenerate reactions in the spiritual 
history of mankind. Everywhere we find the mark of 
human history. The men are such as we should expect 
in the age in which they are supposed to live. The 
record is marked by perfect human truthfulness. Mis- 
takes and failures are written down with accuracy. In 
fact, the honest record of sins and imperfections is one 
of the chief marks of its authenticity. Whatever may 
be our views of inspiration, however men may interpret 
the fundamental spirit of the Books, to whatever school 
of criticism they may belong, — to all men the Bible is 
the record of the spiritual experiences of the race. It is 
a revelation of the divine will as the soul has realized it, 
and of the divine life as it has been manifested in the 
human heart. And all can join with one of the greatest 
critics, and say, " He only is a heretic who does not 
study his Bible and does not study it thoroughly." 

The reading of the Bible must in some sense mean 
the interpretation of the Divine Spirit and will to the 
hearts of men. Inspiration may be understood as direct 
or indirect, complete or progressive, yet to all the Bible 
is in some sense God's revelation of His plans and will 
concerning every individual of the race. The public 
reading of the Scriptures is an endeavor to interpret 
universal spiritual experience. Such an exercise must 
awaken the aspiration of the worshippers to receive a 
message from the universal Father. 



12 THE PROBLEM 

In the public reading of the Scriptures we find a new 
and distinct phase of vocal expression. Thought is not 
given by the reader as if it came from his own mind, or 
a message from his own personality, but as something 
coming to his own soul as well as to the souls of others. 
He expresses an idea not merely for its own sake ; he 
interprets truly the impression it is producing upon him- 
self. Each idea is not only coming to him but coming 
from a higher source, from a deeper life than his own. 
Bible reading is unique in its expression of a message 
for which we long, and which we are ourselves receiving 
from above, from within. 

As Professor Monroe has said, "To read the Scrip- 
tures, enjoin the truth upon yourself and upon other 
men." We include ourselves with others. We enjoin 
the truth upon ourselves first. The enjoining of it upon 
other men is secondary to this, and a result of this sub- 
jective realization. A man must show his fellow-men 
that truth is coming to him from a divine source. A 
genuine interpreter of the Bible messages will speak in 
some sense from the Divine Spirit. 

The reading of the Scriptures is not for entertain- 
ment. It is more than instruction. It is not an intro- 
duction to a sermon. It is not a sermon in itself. It is 
behind all sermons. It is the expression of the fact that 
all souls are equal, that all souls stand in the same rela- 
tion to the infinite All-father. It is not the expression 
of one soul to another, except as it is a suggestion that 
both are receiving a common message. 

A man may stand upon a high mountain and with a 
little glass throw a reflection of the great sun to the 
valley below. The little flash of light may carry a mes- 



THE BIBLE IN WORSHIP 1 3 

sage to his friends, or be a signal to a far-off garrison. 
So the individual soul may reflect the Sun of suns. A 
reader can reflect by the voice to other souls the life of 
the Divine. The little mirror may seem totally inade- 
quate, but it can reflect the sun. When the Bible is 
read with genuineness and simplicity, no art is more 
sublime, nothing moves more deeply the hearts of a 
congregation. 

The reading of the Scriptures must seem to come 
from a deep realization of the Infinite. It should never 
be dogmatic, and rarely didactic. It must be sugges- 
tive, must reveal the soul's deepest conviction. The 
reader is not dwelling in external experience, but is 
reflecting the profoundest attitude of his soul toward 
infinite Truth. 

Does not the right reading of the Scriptures, there- 
fore, require the realization of the sublime ideal of the 
mystic and contemplative spirit ? In a sermon we 
demand vigorous thought and reasoning, feeling, and 
love of mankind, because man is speaking from his soul 
to his fellow-men. In prayer we demand a man's reali- 
zation of the character of God as he leads us to His 
presence ; we expect his sympathy to enable us to look 
inward, from the objective to the subjective, from the 
finite to the infinite. But in the reading of the Scrip- 
ture lesson we expect him to turn back to us and give 
us something of the revelation of the infinite Word. 

The reading of the Scriptures should not be pedantic. 
The authority of the reader is not his own, though he 
must speak " as one having authority, and not as the 
scribes." Is there any other form of expression, unless 
it be that of prayer, in which the soul more simply 



I 4 THE PROBLEM 

reveals its realization, more directly expresses its feeling 
as light is shed from the sun ? 

Imagine that you are called upon to read a letter 
from a mother to a son who is blind. Will you endeavor 
to exhibit your elocutionary powers, your fine pronuncia- 
tion, your superior understanding ? Will you endeavor 
to charm and fascinate one who is thinking, not of you, 
but of his mother, or seek to gain his attention by pecul- 
iar technical inflections, so as to project into the words 
of the mother meanings peculiar to yourself ? As you 
look into that serious face, you remember that the letter 
will touch deeper chords than you can reach. There 
are ties between that blind boy and his mother with 
which you have nothing to do. With the utmost sim- 
plicity, with the most direct truthfulness, with as little 
as possible of your own personal experience, with less 
of your own personal expression than ever before, you 
will seek to transmit to the boy the message which to 
him is sacred. 

Every time a man reads the Scripture he will cause 
chords to vibrate, not merely between his heart and the 
hearts of his fellow-men, but between other souls and 
the infinite Over-soul. He knows, if he has any true 
conception of what he is doing, that he is treading upon 
holy ground, and takes off the shoes of his own per- 
sonal whims, of all artificial theatric personations, to 
speak with the utmost simplicity, knowing that the 
words will awaken, not only memory of a mother's or of 
a father's voice, which may long have been silent, but 
echoes of the soul's own life. Each soul has an open 
door into the Infinite, and through this door of con- 
sciousness only the Infinite and Eternal enter. Any 



THE BIBLE IN WORSHIP 1 5 

reverent reader of the Scriptures knows that his little 
knock at the door of the senses is but to call the atten- 
tion of the soul to the knock of an inner infinite visitor. 
He feels that God is nearer every soul than he himself 
can ever be. 

A story told by Moody has gone the rounds of all the 
evangelists. In the old mining days of California, a 
young man left his father's home in the East in great 
anger, and sought that wild region. For long years the 
heart-broken father waited for some message, but none 
ever came. At last a neighbor was preparing to make 
a journey into the far West. The father came to him 
and said, " I want you, if you ever find my boy, to tell 
him that his father loves him still." The neighbor, 
knowing the circumstances and feeling deep sympathy 
for the father's sorrow, took great pains wherever he 
went to make inquiries for the young man. At last, one 
midnight he found him in a gambling den, drinking and 
carousing among the worst companions. Tapping the 
wanderer on the shoulder, he said, " I have a message 
for you from your father." The young man braced up 
with antagonism, but followed the man out under the 
stars. He expected to hear that the property had all 
been divided among the other children and that he was 
cast off as utterly unworthy the name ; but what a sur- 
prise met him ! The friend slowly repeated, " Your 
father asked me to tell you, if I ever found you, that 
he loves you still." There was a change. The long- 
stopped fountains of feeling were at last opened. 

Can we not see a different application of this story ? 
Think for a moment how that neighbor would speak 
those words. He would not utter them in a spirit of 



16 THE PROBLEM 

indignation, or he could not have softened the hard 
heart. Had he tried to become a good actor and to 
impersonate the father, he would have failed ; or had he 
given the words with fine dramatic effect, they would 
have been given in vain. They were spoken as simply 
as possible, as a true and genuine sympathetic reflec- 
tion from the man's soul of something beyond and above 
his own individuality. He was only a messenger. He 
passed into a high and noble universal experience of the 
relation of a father to his child and of a child to his 
father, and faithfully suggested his sympathy with the 
feeling which lies deeper than all speech. 

The Scripture lesson ought to be presented with a sim- 
ple sympathetic realization of its meaning. It touches 
even deeper feelings than exist between a father or a 
mother and their child. It is a message carried to one 
who may be astray, but is always a child. It may be a 
message to one in rebellion, to one in want because of 
his lack of receptivity, to one unconscious of the spirit 
which is over him, around him, and within him, but from 
whom he has turned away to live in the negative and in 
the shadow. 

The listener is a child, the reader is also a child bear- 
ing a great message. The reading of the Scriptures is 
a peculiar, a serious, and a difficult function, and de- 
mands special study and earnest preparation. 



II. CUSTOM AND PRACTICE 

The public reading of the Bible as part of worship is 
an ancient custom. The leader of the hosts of Israel 
at the close of the wilderness journey "read all the 
words of the Law, the blessing and the curse according 
to all that is written in the book of the Law. There 
was not a word of all that Moses commanded which 
Joshua read not before all the assembly of Israel " 
(Joshua viii. 34-35). 

Every successive reformation was associated with a 
renewal of attention to the study and public reading of 
"The Law." At the time of Nehemiah and Ezra, 
" They read in the book in the Law of God, distinctly ; 
and they gave the sense, so that they understood the 
reading " (Neh. viii. 8). 

The synagogue, with its public reading of the Scrip- 
tures, is believed to have originated during or after the 
Babylonian captivity. This reading of the Law by 
Nehemiah and Ezra was not necessarily the initiation 
of a custom. From that time onward the synagogue 
spread rapidly to all Jews, wherever dispersed, and a 
carefully arranged lectionary of the Law and the Proph- 
ets grew up gradually. This, with the benedictions and 
prayers which were added later, and the address after 
reading the Prophets, constituted the whole service. 
The whole " Law " was thus publicly read in about 
three years or three and a half. 
c 17 



18 THE PROBLEM 

We are told (Luke iv. 16-30) that Jesus at Nazareth 
entered, as his custom was, into the synagogue on the 
Sabbath day, and stood up to read the appointed lesson 
of the day, — the appointed prophecy, or possibly a 
selection of his own, which was also customary. Luke 
evidently takes for granted that the reader has a dis- 
tinct picture of the circumstances in mind. The phrase, 
" as his custom was," suggests that the Master had read 
the lesson frequently. The reading, or the Master's 
part in the service, is taken as a matter of course. It 
was what he said in explanation of the passage that 
caused the uproar. In the simple exercises of the syna- 
gogue it was customary to call upon persons from the 
congregation to read the lessons, and the ruler of the 
synagogue usually designated the person who was to 
speak. 

These customs were either adopted by the leaders of 
the Christian Church, or greatly affected its meetings. 
The first Christian services were very informal. The 
early disciples merely met together, and one of the 
apostles, or some person who had seen Christ perform 
a miracle, or who had heard Him speak, gave an ac- 
count of it to the others. These oral reports of His 
parables and addresses, spoken in an informal way 
from memory and finally gathered together, constitute 
the four Gospels. Luke, who wrote the most syste- 
matic and complete of these accounts, probably never saw 
Christ. He simply combined the stories he had read or 
had heard at second hand. We know also that Paul's 
letters, though sent to particular churches, were some- 
times read in other places (see Col. iv. 16). As a matter 
of course, devout Christians would preserve copies of 



CUSTOM AND PRACTICE 



19 



these letters, and no doubt for centuries such copies 
were passed from church to church, and read at various 
meetings. The letters have been preserved to us 
through copies made for similar uses in the churches. 

That this custom was an early one is shown by the 
way Justin Martyr speaks of it in his first Apology, 
written about a.d. 140. " On the day which is called 
Sunday, there is an assembly in the same place of 
all who live in cities, or in country districts, and 
the records of the Apostles or the writings of the 
Prophets are read as long as we have time. Then 
the reader concludes ; and the President verbally in- 
structs and exhorts us to the imitation of these excel- 
lent things ; then we all together rise and offer up our 
prayer." 

Thus, about one hundred years after the death of 
Christ, we find the reading of the " records of the Apos- 
tles " at meetings of the Christians referred to as a cus- 
tom well known, and firmly established as the chief part 
of the services. 

These readings had no doubt great influence on the 
selection of the so-called Canon. That the arrangement 
of the Old Testament for reading in the synagogue 
affected the Jews, is shown, for example, by the fact 
that the book of Esther, which does not include even 
the name of Deity, was inserted simply because it was 
read by the Jews at the feast of Purim. 

These readings no doubt caused the preservation of 
the manuscripts and prevented changes and insertions 
in the text of the Sacred Writings. Whatever was 
earliest was most reverenced and guarded with most 
care. 



20 THE PROBLEM 

When our Bible, as a collection of both Hebrew and 
Christian writings, had gradually taken shape and ob- 
tained wider circulation, it was natural that the custom 
of reading it as a part of the Christian services should 
continue, and also that portions should be gradually 
appointed for special seasons. 

It was natural to use the Sacred Writings both for 
instruction and reverent contemplation, to elevate the 
heart and to bring all into deeper unity. As we know 
from Justin Martyr, and from other sources, this read- 
ing of the Scriptures constituted the chief part of the 
services. The practice of the Jews in the synagogue 
passed over naturally into the church, so that particular 
passages from the Old Testament were selected, con- 
taining the prophecies of the Messiah. The Gospels 
followed, then the "records of the Apostles," and finally 
the apostolic epistles. 

The poverty of the early Christians, the great cost of 
manuscripts, and the inability on the part of many in 
the early congregations to read, made frequent reading 
of the Scriptures a necessary part of the service. A 
portion of the time in different countries was also 
allotted to an interpreter for the translation of the 
lessons into the dialects or peculiar everyday language 
of the people. 

For fifteen hundred years there was no printed Bible. 
The manuscripts were copied and recopied, and worn 
out by frequent use. Even at the time of Shakespeare, 
a Bible was worth as much as a good-sized farm, and 
only the few could own a complete copy of the Scrip- 
tures. In the daily church services, the lectionary was 
similar to the ancient readings of the Law and the 



CUSTOM AND PRACTICE 21 

Prophets in the Jewish synagogue. Practically the 
whole Bible was arranged to be read during the year, 
the more important parts being assigned to Sundays 
and feast days. 

The Bible also was often chained to a lectern or desk, 
that devout persons might read at various hours of the 
day. Readers would often no doubt volunteer to read 
aloud to groups of persons. Possibly in this way 
Shakespeare gained his knowledge of the Bible. In 
this manner the reading of a part of the Scriptures in 
public worship, probably one of the first of all Christian 
customs, became the great channel through which the 
Bible was made known to the people at large. 

At the present time, however, any one for a small sum 
can obtain a copy of the Scriptures in his native tongue. 
Has the necessity for the public reading of the Scrip- 
tures therefore passed away ? Why should this custom, 
which had its origin in the days of ignorance and before 
the invention of printing, be continued in this age, when 
a copy of the Scriptures is found in the hands of every 
individual ? 

The present universal neglect of systematic study for 
the vocal interpretation of the Scriptures, would seem 
to indicate that the reason for the custom has passed 
away. In fact, Scripture reading is frequently called a 
part of the "introductory exercises." Introductory to 
what ? To the sermon, of course. In many of our 
churches, the " introductory" services are rushed through 
in a perfunctory manner. Among all denominations of 
Christians there is found little genuine conception of 
the fact that the reading of the Scriptures is an essen- 
tial part of worship. 



22 THE PROBLEM 

In theory, of course, it is still magnified, and it is 
continued "lest the people might not otherwise hear the 
Bible " or " might neglect reading it at home." Yet 
there is no well-defined conception or realization of the 
power of the living voice to interpret its meaning. In 
the training of clergymen, how little attention is devoted 
to the adequate presentation of the spirit of the Bible in 
reading ! The clergyman devotes the whole week to 
the preparation of the sermon, but probably only a few 
moments to the preparation or selection of the Scripture 
lesson. Sometimes, indeed, the lesson is not chosen till 
the minister arrives at church. 

There are even ministers who hold that " no Scripture 
is of any private interpretation," and who profess to 
believe that there should be no emphasis, no specific 
interpretation of the passage read, but that each person 
should interpret it for himself. To them, reading is 
apparently only a monotonous repetition of words. 

Now, if the reason for the reading of the Bible has no 
other ground than the fear that the people may not be 
otherwise acquainted with it, if a lesson is to be droned 
out by persons without intellectual ability or knowledge, 
or if the minister is to read it simply as a formal intro- 
duction to his sermon, thoughtful men cannot help 
thinking that the public reading of the Bible will be 
brought into contempt, and become positively harmful. 

What thoughtful man can fail to see that in many 
churches, even in those that claim to be the most spirit- 
ual, the reading of the Scriptures rarely awakens much 
attention. Members of the congregation universally 
desire the " introductory exercises " to be short. During 
the reading, the minds of only a few enter into the 



CUSTOM AND PRACTICE 23 

exercise with heartfelt sympathy. When the " introduc- 
tory exercises " are over, you see the minister begin to 
breathe deeply and " gird up his loins " for what to him 
is the important part of the service, — the sermon. The 
members of the congregation straighten up also with 
expectant attention for the real centre of interest — to 
some almost the entertainment of the morning. 

Is the public reading of the Scriptures an empty 
form which has come down to us from a remote past, 
and remained without any special reason for being 
maintained ? Is the necessity for it outgrown ? If the 
preacher conscientiously thinks so, he should by all 
means omit it. To make people familiar with the letter 
without any appreciation of the spirit, or with the mere 
sound and form of the words without any proper realiza- 
tion of the meaning, can never be anything but injurious. 

Should not every young minister give himself to a 
serious consideration of the meaning of this part of the 
service ? As one who is to be an instrument in leading 
men to a higher realization of the spiritual life, should 
he not seriously endeavor to define for himself the real 
function of each part of the services ? 



III. GENERAL NATURE OF VOCAL 
EXPRESSION 

To understand the peculiar character of the reading 
of the Bible and the practical methods for its improve- 
ment, it is necessary as a preliminary step to comprehend 
the nature and primary elements of all Vocal Expression. 
The meaning of every modulation of the voice concerned 
in vocal interpretation must be realized. The reader 
who desires to improve his expression should begin by 
studying himself. What are the primary actions of the 
mind in thinking ? How are they expressed through the 
natural language of voice ? 

i . The Elementary Modulations of the Voice. — What 
are the modulations of the voice which in everyday 
speech naturally express our thoughts and feelings, and 
what is the distinct function which each discharges in 
expression ? 

Read aloud the first eight verses of the first chapter 
of Genesis several times, noting carefully the actions 
of the mind and the modulations of the voice. You 
will observe that the mind before speaking each phrase 
concentrates attention upon the central idea and causes 
the voice to utter in a group the words belonging to this 
idea. This precedent attention secures an impression 
which determines the vocal expression. During con- 
centration there is a pause, the length of which is deter- 
mined by the vividness of the mental pictures, the vigor 

24 



GENERAL NATURE OF VOCAL EXPRESSION 25 

of the thinking, and the depth of feeling. The central 
word of each phrase receives a definite touch, and pause 
and touch in conversation and good reading alternate 
in a movement determined by the rhythmic action of 
the mind in thinking. When we read over the words 
merely as words, the rhythmic action of the mind and 
the alternation of pause and touch are lessened or 
thrown into confusion ; but in proportion as thinking is 
genuine and expression natural and forcible will be the 
regular and intense rhythmic alternation in both think- 
ing and speech. Attention is definitely focussed succes- 
sively upon "beginning," " God," "heavens," "earth," 
"waste," "void," etc. Readers differ; some, for exam- 
ple, will make "waste and void " two ideas; others one 
idea with a distinct, definite touch on "void." 

In an earnest rendering of these sublime ideas the 
successive central ideas with their phrases are dis- 
criminated from one another spontaneously by a change 
in pitch. When "the heavens" and "the earth" are 
given as two ideas, there is a variation of pitch. At 
the close of the first paragraph, " there was evening and 
there was morning," the reader who is awake to the 
meaning does not rely upon the mere change of words 
to give the thought to his audience but spontaneously 
opposes the two ideas by a difference in key. 

In speaking "beginning" the mind is held in sus- 
pense and is looking forward, and this attitude of mind 
is shown by a rising inflection. The reader who affirms 
God as back of all creation will give a falling inflection 
to express this affirmative attitude of his mind ; while a 
reader who takes this for granted will give a rising 
inflection to all words until the falling inflection comes 



26 THE PROBLEM 

on " earth." In every case the attitude of the reader's 
mind toward each successive idea, his sense of the rela- 
tion of idea to idea, to himself or to his auditor, is shown 
by inflection. 

A reader who has any imaginative realization of the 
sublime situation will show this by a modulation of the 
resonance of his voice or tone-color, and by a slow, 
strong pulsation of thought and expression, or movement. 
We find also a change in color between phrases and 
clauses. " Let there be light " is given with great 
intensity and awe. "And there was light " is given not 
only on a different key but with a difference of reso- 
nance and movement to express the mind's realization 
and wonder. We find, again, a marked union and tran- 
sition of all these elements in the last sentence of verse 5 
and also in that of verse 8. The pauses are long, the 
movement slow and strong, the coloring intense, sug- 
gesting the significance and mystery attached to these 
words in this sublime poem of Creation. 

Read aloud Luke xv. 1-7. Here again, though the 
passage is very different in style, we find the same 
actions of mind and voice. In the introductory verses 
we can indicate four classes of persons, — " publicans," 
" sinners," " Pharisees," " scribes," by naming each with 
a falling inflection ; or we can divide them into two 
classes by a rising inflection on " publicans " and a fall- 
ing on " sinners," a rising inflection on " Pharisees," and 
a falling on " scribes." This last is evidently the idea, 
for the emphasis is upon the division of the audience 
according to their mental attitude, and it is this which 
gives rise to the parable. 

The reader will concentrate his mind upon "near" 



GENERAL NATURE OF VOCAL EXPRESSION 2J 

and "hear," then upon "scribes." In every case the 
words are so gathered around the central ideas as to 
form natural groups, and a decided touch is given where 
attention is focussed. These successive groups are pre- 
ceded by pauses. The mind grasps the idea of a 
phrase and conceives the picture before expressing it. 
Impression continually precedes and determines expres- 
sion. First a period of silence — then the expressive 
word or phrase. Pause and touch unite in a natural 
rhythm, expressing the action of the mind in thinking. 

The successive centres of attention not only become 
living conceptions in the mind but in proportion to their 
vividness are distinguished one from another by a 
change of pitch. These changes of pitch reveal the 
progressive transition and the successive distinction 
between ideas. They may be given in any direction and 
with almost any degree of length, so long as they are 
under domination of genuine mental action. 

The mind relates the ideas and words to one another, 
and expresses this relation by inflection. For example, 
there is a rising inflection upon "now," "all," "the," 
and " publicans," and a long, falling inflection on " sin- 
ners." Thus the words are naturally brought into 
unity of form by direction of the inflection and change 
of pitch, making salient the centres of attention. This 
form may be further illustrated by the words, " And 
having lost one of them." " Lost " is the central word. 
The words before it have the rising and the words after 
it the falling inflection. " Lost " has not only a strong 
touch but also a long, falling inflection which governs 
the whole phrase. 

We find also that some ideas have longer falling 



28 THE PROBLEM 

or rising inflections, others shorter. For example, in 
verse 2 the word " eateth " may be more salient than 
any previous word, to express the surprise and disgust of 
the scribes and Pharisees. The force of inflection may 
be such that the whole passage is brought into unity. 
Inflection thus shows the relation of words and ideas, 
or the method of thought in the passage. 

Changes of imaginative situation and feeling are 
shown by modulation of the resonance of the voice, 
or tone-color. For instance, verses I and 2 differ from 
verse 3, where the parable is introduced in the Master's 
own words. There is also a suggestion of the shep- 
herd's joy and a still greater change with verse 7 at 
the Master's application of the story. 

Some clauses of comparatively little importance are 
given freely and rapidly with a suggestion of shorter 
pulsations ; while other clauses or sentences, like verse 7, 
are given slowly with longer and stronger pulsations. 
These reveal the reader's assimilation of the real spirit 
of the passage, and show his estimate of the relative 
value of the successive ideas. 

We find still other elements. For example, a pause 
may be introduced in the very middle of a phrase ; 
after the word "murmured" or "eateth," and after 
" lost " in the first part of the verse. This has been 
called the emphatic pause. 

These six modulations of Pause, Touch, Change of 
Pitch, Inflection, Movement, and Tone-color are never 
absent from natural conversation, and may be put down 
as its fundamental characteristics. 

Another way of realizing the presence and functions 
of these modulations is to read such a passage as 



GENERAL NATURE OF VOCAL EXPRESSION 29 

Psalm 1. First, eliminate all modulations, and then 
give it, endeavoring to employ all the variations of free 
and natural speech, and note the differences. Such 
exercises will make clear the real nature and power of 
vocal interpretation. 

Still another way is to read these passages with vari- 
ous "tunes" by perverting these natural modulations. 
In proportion as inflection or change of pitch is elimi- 
nated or perverted, unnaturalness results. The reader, 
by comparing any unnatural tune with conversation and 
carefully observing pause, touch, change of pitch, inflec- 
tion, or any of the modulations, can be made to dis- 
tinguish the causes and characteristics of naturalness 
and unnaturalness in speaking and reading. 

In reading or speaking a simple sentence or phrase, 
numerous mental actions are simultaneously combined. 
We can concentrate our attention upon the idea and at 
the same time preserve a definite mental attitude, a 
positive degree of conviction and deep feeling, and 
unite with all a complete imaginative realization. These 
mental actions do not interfere with one another. On 
the contrary their union adds force to the activity of 
every power of the mind. 

Now, in exactly the same way, we find that all the 
voice modulations, which directly express these psychic 
actions, are capable of similar unity. In fact, they 
always act together, and are necessary to one another. 
Without a pause, for example, change of pitch or vigor 
of touch results in chaos. Without inflection, the color- 
ing of the voice is meaningless, — as a painting, no mat- 
ter how beautiful the coloring, is bad if incorrectly 
drawn. Expression depends upon the combination of 



30 THE PROBLEM 

these modulations. Not only must the distinct linguis- 
tic or expressive value of each modulation be felt, and 
the power to use it consciously secured, but it is still 
more important to feel the relation of these to each 
other and express the force of their union. The ability 
at any moment to accentuate any combination of these 
must be secured. The deeper the expression, the sub- 
limer the passage, the more harmoniously must these 
elements blend. Only by their combination do they 
become a language at all. 

The reader must specially note that any one of these 
natural modulations, such as pause, change of pitch, or 
inflection, can be very strongly accentuated, and that 
this enlargement brings greater unity and saliency, and 
increases rather than decreases the naturalness. The 
student should make earnest efforts to realize the indi- 
vidual function of each of these modulations, and to 
accentuate it while bringing all into greater unity. 

Read again, and many times, the parable of the Hun- 
dred Sheep, Luke xv. 1-7. First increase the intensity 
of the thought, and express this by accentuating silence 
and touch. Then read it once more, expressing by 
change of pitch and inflection the connection and rela- 
tive value of ideas, and note that the central ideas and 
their relations can be made very prominent without in 
any way displacing other modulations. 

By reading such a passage many times and in many 
ways, intensifying every possible meaning and shade of 
feeling, by multiplying the use of expressive modula- 
tions and by accentuating them in various degrees, the 
reader can become conscious of the function of vocal 
expression, of the meaning and force of each modula- 



GENERAL NATURE OF VOCAL EXPRESSION 31 

tion, and of the methods of freely varying, increasing, 
and uniting them. A right study of these modulations 
reveals also, more than almost anything else, the free 
and spontaneous action of the mind, and their mastery 
gives a marvellous drill in thinking and feeling. 

These expressive modulations of the voice and some 
of their leading functions, should be briefly summarized 
after careful self-observation and practice by every one 
who wishes to make a serious study of the art of 
reading. 

2. The Problem and its Peculiarities. — Vocal expres- 
sion is thus found to be the revelation, through the 
modulations of the voice, of man's realization of truth 
and experience. 

Its nature and function will be better understood by 
being compared with verbal expression. Words sym- 
bolize ideas, but the modulations of the voice directly 
express the processes of thinking and feeling. Words 
by conventional agreement stand for conceptions of the 
mind. They have to be learned, and the custom of the 
best speakers and writers establishes the grammatical 
rules for their correct use. But vocal expression is a 
natural language ; men do not learn to smile or laugh 
as they learn the use of a word. The modulations of 
the voice are the direct signs of psychic conditions. 
While words symbolize ideas, the voice reveals the 
impressions produced by the ideas, the feelings that 
awaken in response to them. A phrase or word may 
be spoken with a hundred different modulations, and 
be made to reveal as many distinct situations, rela- 
tions, or shades of experience. In verbal expression 
a word or phrase is selected to the exclusion of other 



32 THE PROBLEM 

words or phrases. According to Flaubert, the great 
master of style, the real problem is to find the one 
word, to the exclusion of all others, which will express 
the idea. On the contrary, in vocal expression the 
selection of a modulation of voice for especial accentu- 
ation necessarily implies the inclusion in harmony with 
it of other modulations. One reason for this is that 
words express man's ideas and discriminations, while 
the modulations of the voice in pronouncing the words 
of a literary work reveal the man himself, — how he 
thinks the thought, his appreciation and realization of 
each idea, his attitude, his experience, the response 
each idea awakens in him. In short, vocal expression 
forms a distinct language, — a language which is more 
personal, subjective, emotional, free, and spontaneous 
than words. 

Verbal and vocal expressions are the natural and 
necessary complements of each other. No literary 
work is complete, or can be conceived of as com- 
plete, without a realization of the unity of these lan- 
guages. Without voice, words are a dead language, 
and without verbal expression, vocal expression is 
meaningless. 

Vocal expression is more or less peculiar to every 
individual, and for this reason there is a tendency to 
neglect and overlook its linguistic character. But fun- 
damental principles govern these modulations, so that 
one modulation is recognized as natural and another as 
unnatural; one as expressive and another as unex- 
pressive ; one as harmonious and another as chaotic ; 
one as expressive of weakness and another of strength ; 
one as true and another as false. The standard of 



GENERAL NATURE OF VOCAL EXPRESSION 33 

judgment is neither conventional nor arbitrary. In 
the utterance of every phrase the individual is judged, 
not only by comparison with his race and with uni- 
versal human types, but by himself. Even common 
men distinguish a speaker's actual from his ideal self, 
and judge a speaker's naturalness by comparing, it 
may be unconsciously, his actual speech with his real 
possibilities. 

The problem of improving vocal expression is peculiar. 
It cannot be developed by mechanical, artificial, or ob- 
jective methods. Its unfolding requires a more vital 
process than that of written language. Its improve- 
ment requires primarily the stimulation and accentua- 
tion of the processes of thinking, — the awakening of 
deeper feeling, and a higher realization of truth. The 
voice reveals the subconscious instincts, the deeper 
spiritual intuitions which can hardly be shown by words. 
Even the character of the modulations of the voice, and 
the vocabulary of delivery, can hardly be explained by 
words. They must be felt by the individual, who must 
come to a consciousness of them by observation, medi- 
tation, and practice. 

The modulations of the voice cannot be the subject 
of mechanical rules, for vocal expression is a present, 
living language. It cannot be recorded. Words may 
express what a man thought yesterday or last week; 
they may record the race's attainment in knowledge ; 
but vocal expression reveals the life of the individual, 
the passion of a moment. It discloses not so much the 
thought as the thinking soul. It does not give names 
to experience, but reveals emotion by natural signs ; it 
manifests the soul's present sympathy and realization of 



34 THE PROBLEM 

any experience. Words are comparatively simple ; but 
vocal expression, in the utterance of every word, corre- 
lates many diverse modulations in a living, expressive 
unity, that mirrors the deepest activities of mind and 
heart at the moment of speech. 

Not only the right method of developing vocal ex- 
pression requires the accentuation of thinking, a greater 
fulness of life at the moment of reading, a study of the 
relation of the reader's mind to his voice, a control of 
the voice modulations in conversation, but the reader 
has also to enlarge all these modulations. That which 
would be effective and expressive on the street or in a 
private room must be greatly extended to dominate the 
attention of hundreds of people. When a man speaks 
to another, he uses a certain degree of force and range 
of voice ; but when he stands up to read or speak to a 
thousand, the scale must be extended. In this neces- 
sary enlargement faults and unnaturalness chiefly ap- 
pear. A portrait can be an accurate likeness and yet 
be only half an inch in diameter. The same likeness 
may be enlarged till it covers the end of a house, and 
still remain an accurate portrait, provided all parts are 
enlarged in proportion. If only the nose or chin or 
upper lip be enlarged, the effect is abnormal. Almost 
without exception, untrained readers and speakers fail 
in the harmonious enlargement of the voice modula- 
tions. They increase force, and give greater volume to 
certain vowels, and limit or eliminate such important 
elements of naturalness as change of pitch or inflection. 
To hold the attention of an audience, the reader must 
so control his voice that he can express ideas clearly 
and emphatically, while retaining the naturalness of 



GENERAL NATURE OF VOCAL EXPRESSION 35 

ordinary conversation. Every inflection, change of 
pitch, and pause, must be enlarged in the right pro- 
portion. The trivial, jerky, or irregular and spasmodic 
actions in everyday speech cannot be eradicated, and 
the essential elements of naturalness retained and 
accentuated, without serious study. 

Not only is vocal expression in general difficult, but 
there are peculiar difficulties connected with the read- 
ing of the Bible. It calls for the highest emotion, the 
deepest sympathy, the most exalted expression. It is 
made difficult also on account of the universal method 
in which it is read. Every young minister is tempted 
to form his conception from what he has heard, and 
before he knows it he has fallen into the ordinary 
manner of reading with the cold, formal, neutral, nega- 
tive elimination of all feeling. The result is a tendency 
to drift into mannerisms. Every denomination of Chris- 
tians has a peculiar tune in reading the Bible, which is 
possibly even worse than that used in preaching. One 
who wishes to improve in reading the Bible must, there- 
fore, cut himself loose from all others, study himself, 
his own method of thinking and feeling, and practise 
patiently to interpret the subtlest shades of meaning 
and the deepest elements of feeling. 

Again, in ordinary intercourse, we rarely manifest the 
deeper feelings ; and little occasion arises, therefore, for 
wide range or modulation of movement or texture of 
the voice. But for the proper interpretation of the 
Scriptures a reader must rise to the plane of the sub- 
lime. When the Bible is read in a mechanical and com- 
monplace tone, as is often the case, the hearers obtain 
a commonplace or evanescent impression of what is read. 



36 THE PROBLEM . 

So distinct is the function of vocal expression, that 
a man may thoroughly understand the meaning of a 
passage, and yet so read as entirely to pervert it. How 
often, for example, have readers suggested that there 
were only two places where a lamp might be placed in 
reading this question : " Is the lamp brought to be put 
under a bushel, or under the bed ? " (Mark iv. 21). 

Take the word " depart" as used in the Gospels. To 
render it properly we must understand and manifest 
the spirit and character of the Master who spoke it. 
The reader must feel what is meant by " the wrath of 
the Lamb " before he can truly speak this word. 

Again, every emotion may be expressed as the feeling 
either of a strong nature or of a weak one. For exam- 
ple, one man shows his sorrow with less breath, with 
minor inflections, tremolo, and semitonic melodies, and 
these have been actually recommended by followers of 
mechanical elocution. But observation will show that 
the strong man expresses sorrow in a totally different 
way. He pauses longer, struggles with his breath, and 
breathes more deeply. Because he is striving to control 
his emotion, his voice is used with decided touch, with 
straight inflections, vibrating, it may be with feeling, 
rich in tone-color, but with no minor inflections or semi- 
tonic melodies. The intense emotion of such a man pro- 
foundly stirs our sympathies. The other we may pity, 
but for this man we have sympathy. He expresses his 
endeavor to endure his suffering with dignity. He 
shows himself a strong man, refusing to give way to 
weakness and despair. The true study of vocal expres- 
sion will bring this important distinction to the attention 
of men. 



GENERAL NATURE OF VOCAL EXPRESSION 37 

We find peculiar difficulties in the way of proper 
vocal expression of the Bible. Men separate the book 
from human experience. The book being considered 
sacred as a whole, the minister feels a general mood 
toward the Bible, toward the pulpit, toward the ser- 
vice, or toward the congregation, so that in reading the 
Bible, he is liable to ecstatic emotion or feeling which is 
not the result of genuine thinking, but due to extraneous 
causes which therefore do not produce a natural varia- 
tion or movement. In the reading of any other book, 
if a joyous passage should be given with solemn regret, 
it would be noticed at once; but how often is such 
untruthfulness overlooked in the reading of the Bible. 

It is surprising when one looks over the courses of 
study in the theological seminaries to find neglect or 
perverted notions regarding delivery everywhere preva- 
lent. When one studies the work of the pulpit, its 
nature and importance, and compares its actual attain- 
ments with the ideal possibilities, when he discovers how 
many preachers suffer from sore throats, how many even 
permanently destroy their health through misuse of the 
voice, he cannot but express his astonishment. When 
any one observes the perversions of truth, or the failure 
to express the real feeling of the simplest passage, from 
lack of command of the natural modulations of the voice, 
what can he say ? When the authorities of the theo- 
logical schools select teachers on account of their elocu- 
tionary and dramatic attainments in public reading, — 
men without culture, men who certainly have not the 
breadth of education to enable them to mirror a stu- 
dent's difficulties to him, — what thoughtful man can 
fail to be astonished ? 



38 THE PROBLEM 

To enter upon the work of improving the reading of 
the Bible, it is first necessary to gain some sense of the 
function of vocal expression. It is a lost art to most 
people. Its very nearness to us, its constant employ- 
ment on the commonplace plane in conversation, make 
it specially difficult to awaken a sense of the higher 
function of this, the most natural of languages. 

When asked to read a passage in a different way 
from the ordinary stereotyped method, most men have 
a strange disinclination to make even an attempt to 
do so. This is due to the fact that a habit of merely 
pronouncing the words has been formed. The ordinary 
reader knows little of the power to modulate the voice 
directly, so as to express a distinct shade of thought, 
much less of feeling. One of the ablest young men I 
ever taught said he had never thought of a pause as 
having anything to do with the mind. Such testimony 
is common. If a reader can be made to realize that a 
passage may be read in different ways, it will aid him 
to make a start. To give a passage in different ways, 
even though some of these may pervert the meaning, 
sometimes awakens in the reader a sense of the power 
and function of vocal expression. 

He who would read the Bible well, must take the 
work seriously. He must recognize the development of 
vocal expression as a great problem in education and 
full of the greatest difficulties. He must be willing to 
study and practise earnestly, to give the smallest phrase 
over and over again, to search deep in his own heart 
and wrestle with his own voice, until he can interpret 
the profoundest thought and feeling through the modu- 
lations of his tone. 



GENERAL NATURE OF VOCAL EXPRESSION 39 

Possibly the best way to begin this study is to select 
some short passage, such as the conversation between 
Jesus and Peter, John xxi. 15-18, and after reading it 
over, with the attention at first concentrated upon the pro- 
nunciation or phraseology, then to give as careful and 
genuine an interpretation of the thought and feeling of 
the passage as possible, noting some of the differences 
in the modulations of the voice and the effect upon the 
hearer. 

As the reader thus enters into deeper realization of 
the meaning of the passage, he perceives the difference 
between the manner in which Jesus questions and the 
manner in which Peter answers. He feels the intense 
and tender look and the sustained dignity of the Master. 
He realizes the repetitions of the question and the mani- 
fest impression made upon Peter, and by his voice sug- 
gests increasing assertion of devotion. 

If the reader consult the original Greek, he will dis- 
cover that Jesus uses two different words for " love " 
and that this progressive tenderness cannot be indi- 
cated in English ; but he finds that by realizing the 
true spirit of the progressive appeal he can render 
the increase in feeling by his voice. 

Thus the reader may come to realize that delivery is 
something distinct from words, that it reveals the ex- 
perience of the soul in directly realizing the meaning, 
and that so far as concerns feeling or the revelation 
and interpretation of experience, the voice can express 
deeper discriminations than words can possibly repre- 
sent. Yet he will perceive also that delivery cannot be 
separated from words, that the two complement and 
imply each other. 



II 

THE MESSAGE 



IV. THE LITERARY SPIRIT 

The Bible is necessarily expressed in human lan- 
guage. To convey meaning to another the speaker or 
writer must use words and figures familiar to the person 
addressed. All expression implies the awakening in 
another of the faculties that are active in the speaker 
himself. Language is hardly possible to natures that 
are unlike. The most intelligent dog can understand 
his master only to a limited extent ; he may apprehend 
the intentions or a few simple commands and directions ; 
but if a child to whom a dog is attached be away, how 
powerless the endeavor to explain to the sad little 
begging figure that its playmate will return at a certain 
period. The Bible is governed by the same law ; it is 
not a revelation at all if it be not expressed in human 
language. 

In our endeavor to study the Bible for its more ade- 
quate interpretation, are we not apt to begin at the wrong 
end ? Theories, speculations, theological views, are not 
a good introduction. The human side must first be 
understood ; the human figures, illustrations, and modes 
of expression, the thoughts and feelings, the situations, 
scenes, and characters, must first be comprehended. It 
is not a message until the words awaken the faculties of 
the hearer and cause him by the power of his imagina- 
tion to re-create for himself every situation and scene. 

However we regard it, the Bible is expressed in 

43 



44 THE MESSAGE 

human symbols and language. The treasure is found in 
earthen vessels ; it is brought into the realm of human 
experience, and its interpretation becomes possible. The 
human element does not fetter expression. Although 
God and infinity cannot be expressed in symbolic or 
objective form, yet they can be realized and suggested; 
expression in its very nature can only be a revelation of 
the impression produced upon the individual heart. 

Often the chief hindrance to the vocal interpretation 
of the Bible is felt to be the dignity of the message, the 
sublimity of the scenes and situations, the depth and 
spirituality of the truth and experiences. The Bible 
should be approached in the simplest possible attitude ; 
there must be no false reverence ; there must be nothing 
stilted ; the reader must become a little child and accept 
in simple wonder and express in the most human manner 
possible these exalted truths. The higher the art the 
greater its simplicity ; the more sublime a book, the 
more childlike the attitude required for its adequate 
interpretation. It is neither great knowledge nor great 
theories that are needed, but the simple feeling, the 
genuine realization of truth by the human heart. The 
reader must have felt that " the heart is closer to God 
than the head." 

As far as possible every one should lay aside his 
theories, his prejudices, even his formulated creed ; these 
prevent that teachable attitude towards the Bible which 
is the first essential to genuine feeling and true natural 
expression. 

Even theories of inspiration are a hindrance. One of 
the ablest preachers of our day, who had marvellous 
power to illustrate the Bible, was a notoriously poor 



THE LITERARY SPIRIT 45 

reader. His theory of verbal inspiration was possibly a 
primary cause of his emphasizing every little word until 
the meaning was obscured ; yet in his extemporaneous 
discussion and description he was natural because the 
attitude of his mind was then unfettered. In describing 
in his own words a Bible character, he gave free rein to 
his imagination and feeling. He read the Scriptures 
not only far worse than he spoke but worse even than 
he read anything else. Those who believe in plenary 
inspiration often read the Scriptures in a vague, indefinite 
mood. On the other hand, the young student of the 
higher criticism often reads in a coldly intellectual 
manner. He has not yet risen to a sympathetic assimila- 
tion of the scene on its simple, human, poetic plane. 
He is in the attitude of analysis, not of synthesis ; of 
criticism, not of realization ; of argument, not of worship. 
To read the Bible well, theories, speculations, and 
abstractions, philosophical, theological, and critical views, 
must be transcended ; searching analysis is implied, but 
this is only preparation — the reader must rise to a loftier 
height. 

The greater the message the more necessary it is that 
the language be transparent and suggestive ; for when 
the mind is struggling to understand the meaning of a 
word the message is lost. The loftiest poetry uses the 
simplest words of everyday life. How few and short 
are the words in Dante's great line, " In his will is our 
peace," or Homer's climax in the description of the 
funeral of Hector, "and thereon cast' fire." But no 
language can be more direct, simple, and human than 
the language of the Bible. " Light be and light was " 
has been regarded in every age as the acme of sublimity. 



46 THE MESSAGE 

He who would vocally interpret the Bible must unite 
the most intense intellectual activity and vigorous study 
with childlike teachableness. 

Again, the vocal interpreter must be an artist rather 
than a scientist ; not a critic looking on from the outside 
but one who identifies himself with the truth ; not a cold 
indifferent onlooker but one who is sympathetically 
living the truth he portrays. 

The reader of the Scriptures must accept the results 
of the latest scholarship. The most searching study of 
every passage is necessary, but no man can truly interpret 
the Bible from a critic's point of view. He must begin 
where the critic leaves off. The scientist is endeavoring 
to discover laws ; he must study even a sacred book in 
an impersonal and unemotional spirit; feeling must 
never interfere with the closeness of his examination 
nor sympathy with his rigid analysis. But the artist 
must comprehend the problem from a different point of 
view ; he must not only understand, he must feel ; he 
must not only understand the parts, he must create the 
whole into one picture ; he must have a positive and com- 
plete unity, and must pass beyond the negative stage of 
examination and rejection of what does not belong to 
the passage. The critic's conclusions are only the crude 
stone from which the reader constructs his building; 
the reader's imagination is needed to create the living 
scene, and his voice to suggest the real characters. The 
artist must present the spirit of the passage and not 
theories or opinions ; it is not for him to give formulas 
of chemical analysis or theories of cookery but to furnish 
to hungry souls the bread of life. 

If the Bible is human, then it is literature and governed 



THE LITERARY SPIRIT 47 

by the laws of literature. There is a strange feeling 
abroad that to regard the Bible as literature is in some 
way to degrade it. On the contrary, the more exalted a 
book, the higher and more sublime it is, the more does it 
belong to literature. Does a lyric cease to be a lyric 
because it is in the Bible ? Does a dramatic passage 
lose its character because it is sacred ? 

The twenty-third Psalm is meaningless when regarded 
as a mere historical record of facts, the references to the 
shepherd are all figurative. The simple experiences of 
the shepherd which all can easily comprehend, his 
human love and care for the sheep, the fellowship he 
can feel with dumb and dependent animals, are so 
expressed as to intimate the relation of men to the great 
Shepherd. It is the understanding of this figure that 
has caused the psalm to be taken as the expression of 
their deepest religious experience by so many men. But 
this figure is not the only one in this beautiful psalm ; a 
new figure on even a higher plane is introduced in the 
fifth verse, and a failure to recognize this, in short to 
realize the human or literary element, is to fail to receive 
any impression of the true spirit of the psalm. " Thou 
spreadest a table before me" brings up the picture of 
God as more than a shepherd, as a Royal Host. One 
of the noblest pictures of Oriental life was that of digni- 
fied hospitality. "Thou anointest my head with oil," 
" My cup runneth over," are marks of kind attention to 
an honored guest. Such goodness and loving kindness 
are not occasional ; they " shall follow me all the days 
of life" and "I shall dwell" — not come as a mere 
occasional visitor when invited but as an honored guest — 
"in the house of Jehovah forever." Through these last 



48 THE MESSAGE 

verses the figure of host and guest is sustained to the 
very end. This beautiful poetic figure is even more 
forcible than that of the shepherd and on a higher plane, 
but it is hardly grasped by most readers or at any rate 
is not sustained through the last half of the lyric. 

Here we have more than a history, more than a 
mere description of literal facts : we have exalted poetry. 
The idea of the shepherd, his kindness and care, the 
thought of the host and his treatment of his guest, for- 
ever welcome in the royal home, are used as illustrations 
of the care of the great Shepherd, the Divine Host of 
every human being. These familiar pictures, beauti- 
ful and consistent with Oriental life, are so used as 
to awaken the imagination and to suggest something 
transcendently great and glorious in human experience. 
The only way man can rise to an appreciation of a better 
and higher plane is by more intensely realizing the sig- 
nificance and correspondent character of what he meets 
in everyday life. 

In a sense all literature is sacred. " The literature of 
a people," says Professor Genung, " is the Bible of a 
people." All literature expresses the exalted realization 
of the human soul ; it embodies spiritual feeling ; it ex- 
presses men's aspirations and ideals, their dreams, or 
what their intuitions tell them they ought to be. The 
greatness and glory of a nation are not wealth, discoveries, 
nor material prosperity; "no people can be truly great 
that is not great in literature and art," for these ex- 
press, directly or indirectly, the spiritual life of the race. 
The most chosen people must have the most chosen lit- 
erature ; the most sacred nation must have the most 
sacred books ; the chosen race more than any other 



THE LITERARY SPIRIT 49 

must have realized the dignity and possibilities of 
human nature, the exalted ideals and aspirations of the 
human heart, the divinity and nobleness of the human 
soul. 

Half of the Bible is poetry ; inevitably so. If the 
majority of its books were not poetry, it would be false 
to human experience, for " anything becomes poetic by 
being intensely realized." According to Aristotle, the 
difference between history and poetry is that poetry 
implies "a higher truth and a higher seriousness." By 
this test the Bible must be not only literature but great 
literature, the most exalted poetry. The call of the 
chosen people, their aspirations and achievements, their 
rebellious failures, are portrayed in vivid colors ; their 
most grievous sins are not extenuated. 

Its higher truth and seriousness and the sublime 
simplicity of the language make the Bible great literature. 
It cannot be true, even if theologically and historically 
accurate, if untrue to the human heart. It is because 
it is true to universal experience that it takes hold 
of the consciences of men. Such truthfulness is as 
important as scientific fact. Colley Cibber rearranges 
the play of "King Lear"; the villains are all killed, 
Edgar marries Cordelia and becomes king of England, 
and old Lear spends his last years in peace and quiet- 
ness. Colley Cibber made an interesting story, but he 
lost the higher truth and seriousness of great litera- 
ture. Shakespeare was true — true to the experiences 
of life. Thus the vocal interpretation of the Bible im- 
plies as a preparation not only the critical examination 
but the thorough study of it as literature. 

But literary criticism must be merely preparatory ; it 



50 THE MESSAGE 

must not be an end in itself any more than textual criti- 
cism, nor must it be merely an aesthetic study. 

The literary study of the Bible is usually regarded 
as a study of the mere forms of the books. It has been 
called " literary morphology." It has often been given 
up to ingenious "structural printing" by which these 
ancient and simple expressions have been put into arti- 
ficial forms of our own times and called by high-sound- 
ing names such as " sonnets," "envelope figures," which 
are purely modern names, foreign to the primitive 
spirit. Structural printing may aid us in understanding 
the unity of a passage, but we must not force it too far 
or make it a necessary part of the original. It is only a 
suggestion to the modern eye which should not be 
allowed to act independently of the more poetic and 
spiritual ear. The true literary study of the Bible 
must not be the study of mere structures or the 
giving of expressive names but the bringing of imagi- 
nation and sympathy into active appreciation. It must 
involve a perception of the point of view of the writer 
and his age, the hidden spirit, the human experience, 
and the natural form into which all noble feeling passes. 
True literary study is neither ingenious nor aesthetic 
but, on the contrary, a necessary step to appreciation of 
the meaning. 

Illustrations of the necessity of literary study are 
innumerable. Many passages of the Bible are totally 
misconceived on account of failure to realize their artis- 
tic character and form. There are many passages which 
are not the statement of a universal truth but are simply 
true to some one's point of view. " Man is born to 
trouble as the sparks fly upward " is a speech of Job in 



THE LITERARY SPIRIT 5 1 

the midst of despair and anguish. It is profoundly true 
to his mood of despair ; but afterwards he repents in 
dust and ashes, and he is rebuked by Jehovah for speak- 
ing " foolishly." The statement is to be taken dramati- 
cally ; it can be understood only by being related to the 
other points in the book ; it is true to a single point of 
view ; to read it as a statement of a universal truth is to 
misinterpret the Bible. There are hundreds of passages 
of a similar tenor throughout the books. To understand 
the Bible we must grasp the point of view ; we must see 
the truth as it is realized by another soul. A truth is 
often better understood and felt when it is spoken by 
a distinct and peculiar type of man. To miss the dra- 
matic point of view is to turn much of the Bible into 
commonplace prose and, in fact, to introduce innumer- 
able contradictions. 

Many regard the ninetieth Psalm, for example, as a 
pure lyric expression of universal experience ; but it is 
rather a dramatic lyric, or, possibly, we may call it a 
dramatic soliloquy or monologue. The experience of 
the passage is true of Moses, and it is called by the 
writer " a Prayer of Moses." Whether Moses wrote the 
psalm himself or some later writer thought himself back 
into the spirit of Moses does not change the principle at 
all. It is certainly the portrayal, either by himself or 
by some one else, of what Moses experienced. How 
truly can Moses say, " Lord, thou hast been my home ! " 
He never had a home. He was cradled on the Nile and 
brought up in the palaces of Egypt. Becoming ac- 
quainted with his birth and refusing, according to tradi- 
tion, to become king of Egypt, he sought to free his 
people, but he made a wrong beginning when he killed 



52 THE MESSAGE 

an Egyptian. He fled into the desert, where for forty 
years he wandered keeping the sheep. For another 
forty years he led the people through the wilderness, and 
at last was accorded only the privilege of looking from 
the top of Pisgah over the land he must never possess. 
How impressive to imagine his intense prayer for a home 
at last ! Every line seems to refer to him ; " Before the 
mountains were brought forth." What mountains? 
Those around him. How truly he could say, " Thou 
turnest man to destruction"; "a thousand years in thy 
sight are but as yesterday ! " The lingering in the 
wilderness is nothing to God; it does not hinder the 
realization of His plans. Truthfully can he say, " All our 
days are passed away in thy wrath." They were for- 
bidden to enter the promised land, and such words are 
strictly and literally true of him and those who must die 
with him in the wilderness ; but are such words true to 
the spirit of the gospel ? Should they be read at a 
funeral as if universally true ? 

Except from a dramatic point of view they are un- 
true ; untrue to the spirit of one who in the hour of 
hardest trial said, " Ask and receive that your joy may 
be full." In a poetic sense how the words of this psalm 
broaden our sympathy! How it intensifies our realiza- 
tion of the experience of a great soul and our kinship 
to his disappointment to read such a portrayal of his 
bitter experience ! 

What a great help to the realization of the Hebrew 
lyrics or psalms has been the discovery of the so-called 
parallelisms of Hebrew poetry, a form of primitive 
rhythm called in Ewald's beautiful words, " the rapid 
stroke of alternate wings," or "The heaving and sinking 



THE LITERARY SPIRIT 53 

of a troubled heart ! " A study of this literary means of 
expression makes us realize the spirit of the poem, and is 
necessary to a true appreciation of the lyrics of the Bible. 

When some one finally discovers the artistic structure 
of the sublime passages attached to the book of Isaiah, 
these great conceptions will be more adequately felt, 
and much that now appears to us confused may be 
shown to be a necessary part of their poetic expression. 

The long-continued critical study of the prophets 
has unfolded in these wonderful books the beauty and 
passion of Hebrew oratory. Many passages are still 
obscure, but slowly the structure and relation of parts 
are being disclosed. Vocal expression can take these 
results and find a wonderful field for interpretation. 
The discovery of what was speech and what was song, 
of the person who was speaking and to whom, has 
explained many sudden transitions and shown their 
exact accordance with true poetry and especially with 
the spirit of that age. 

How marvellous are the symbols in the Old Tes- 
tament ; how true to the spiritual realization of a 
primitive people and the poverty of human language 
are their figures ! It is always necessary to express a 
higher truth in a lower form. All through the Bible 
we find a double meaning. How otherwise could the 
prophets have conveyed their higher, more sublime 
truth ! Unpopular and misunderstood teachers in every 
age have been compelled to adopt the parable or to 
embody in a work of art truth which could not be 
understood, to preserve it alive in the minds of the race 
till the soul has reached sufficient growth to unfold its 
meaning. 



54 THE MESSAGE 

The attitude of the mind is not the same in lyric as 
in dramatic poetry. Many important parts of the Bible 
have been totally misconceived by a lack of knowledge 
of human nature, and the necessary forms of human 
expression. 

Sometimes poetry is not distinguished from prose. 
Have we not a recent failure in this regard in the new 
translation called the " Twentieth Century New Testa- 
ment " in modern English? The passages from the 
Old Testament are well translated, and are put into fine 
poetic form. The translators realized that these are 
poetry. "We have," they say, "followed the modern 
practice of using the literary phraseology in the render- 
ing of poetic passages and quotations from the Old 
Testament and in the language of prayer." 

The most successful part of their work is found in 
the Epistles. The nature of these justifies prose, and 
their translation into everyday English makes their 
argument clearer, and gives us a grasp, such as nothing 
before has given, of the meaning of these books. As 
a whole, these translations are very helpful ; but there 
is one failure, — the translators do not see that the para- 
bles are a form of art. Poetical passages, quotations 
from the Old Testament, and prayer are all recognized 
on a higher plane of poetic expression. Are not the 
parables of the Master as poetic, as exalted, as any of 
these ? Poetry does not consist merely in " literary 
phraseology," for they have employed simple words in 
their beautiful translation of the Lord's Prayer and the 
songs of Mary and Zachariah. It is not the " literary 
phraseology " that makes these poetic. Consciously 
or unconsciously they felt that these are poetry and 



THE LITERARY SPIRIT 55 

have adopted a simpler and more suggestive diction; 
but in the sublime parable of the " Prodigal," " he came 
to himself " is rendered " he came to his senses." The 
meaning is not the same, and all who believe in intui- 
tional interpretation will object to the phrase, " came to 
his senses." It is simply colloquial and almost slang. 
Again the clause, " while I am starving to death here," 
is unrhythmic if not the baldest commonplace prose. 
" I perish here with hunger" has force and life, and is 
perfectly clear. "Rejoice" is certainly as simple and 
modern as " share my gladness." Scholars are very 
apt to adopt abstract terms and lose the pointed Anglo- 
Saxon words of everyday speech. These translations 
of the parables are really not translations into everyday 
speech or "into modern English" but the translations 
of the Master's poetry and art into the modern teacher's 
or preacher's abstract prose or colloquial discussion, not 
into the poetry of everyday life. As these men have 
translated them, the common people would hardly hear 
them gladly. The vocal interpreter of the parables 
must realize that they are exalted and ideal ; that they 
belong to human art and can be interpreted only in 
accordance with its laws and spirit. 

Important as it is, mere literary study of the Bible is 
not sufficient ; a man may study literature with his feet 
upon the mantel, and may tell in coarse, vulgar phrase, 
even in profanity, his appreciation of artistic beauties. 
Some men even pride themselves on the transcendence 
of their ideals over their actual life and sneer at any one 
who may profess a correspondence between his ideals 
and his everyday actions. Men may appreciate poetry 
and become so fastidious that they isolate themselves 



56 THE MESSAGE 

from their brothers and laugh as mere spectators at the 
coarseness and crudities of the aspirations of their 
fellow-men. Men may grow so much in love with 
literary form that they miss the spirit, or they may so 
study artistic beauties as to remove a poem from the 
personal experience of our own time and regard it as a 
mere aspect of the experience of other days. 

The literary study of the Bible, to be of any advan- 
tage to vocal interpretation, must be a simple and pro- 
found study of its real spirit, a creation of the scenes 
by the imagination and the sympathetic assimilation of 
its experience. 

On the other hand, vocal interpretation is the real 
climax of true literary study ; this merely aesthetic lit- 
erary study is best shown to be false by vocal expres- 
sion. Vocal expression demands that ideas be grasped, 
and appreciated, that the scene be really created, and 
that the sympathy be genuine. Is it too much to 
say that vocal interpretation is the necessary climax of 
the true literary study of any work of literature ? At 
any rate, every one who knows the power of vocal 
expression will acknowledge that it is a valuable aid to 
literary study, especially that of the Bible. 

" No one can regard," says Alexander von Humboldt, 
the father of modern philology, " a written word as a 
real word; the real word is spoken." Vocal expres- 
sion is the translation of the record into a natural lan- 
guage, of a dead form into a living one ; hence the 
highest literature always implies vocal expression. The 
more sublime the literature, the more does it call for 
the suggestion of the living voice. Printing is but an 
imperfect recording of expression. Vocal expression is 



THE LITERARY SPIRIT 57 

the giving of truth by personality. The noble record 
of the thoughts and feelings of another age is inter- 
preted by a living soul. Vocal expression requires the 
reader to become a sharer in the experience of those 
whose words he repeats. 

The reader must enter into sympathy with the ex- 
perience of another age ; he must link his soul in unity 
with the aspirations, the sorrows, and joys of his kind. 
He must appreciate the universal forms, which in every 
age and clime have been the necessary expression of 
human feeling. He must relive the truth. The ex- 
perience of the whole race is possible to every individ- 
ual. He who uses his imagination and sympathy can 
suggest the experience of one who lived thousands of 
years ago. However far the reader may be removed 
from Jerusalem he must hear the tinkling ankle chains 
about the feet of the fashionable women of Isaiah's 
day. How far soever he may be from Bethel he must 
see the stony road of Jacob transformed into a stair- 
way leading onward and upward to heaven, with the 
angels passing to and fro ; he must feel the stone upon 
which he lies as the first step of that golden stair. 

The very beginning of studies for adequate vocal 
interpretation of the Bible requires that the human 
elements of the book be especially realized. The mes- 
sage must not only be understood, but every idea, scene, 
or character must be so realized as to cause modula- 
tion of the voice. Vocal expression is the revelation of 
life. No truth can be expressed by a natural language 
that is not at that very moment lived. The reader 
must not regard the Bible as some far-off mountain 
which he is unable to approach ; he must enter into a 



58 THE MESSAGE 

direct perception of every experience, or all his vocal 
expression will be false. Hence it is first necessary to 
come to some realization of the various literary forms 
which are found in the Bible, and to understand the 
vocal expression of the lyric, the dramatic, and the epic 
spirit, and how far each specific literary form modifies 
vocal expression. 



V. THE NARRATIVE SPIRIT 

The story was among the first steps in the develop- 
ment of literature. It was no doubt one of the first 
representations of life. By it a group of men could 
enter sympathetically and imaginatively into the appre- 
hension of each other's lives. 

When one man hears a story, he can realize imagina- 
tively his own aspirations and ideals, and enter into sym- 
pathetic understanding of the deeds and experience of his 
fellow-men. The story is the simplest and most neces- 
sary means by which one can influence another. The 
war-dance of the Indians is but a story in pantomime. 
Similar performances were no doubt universal among 
primitive races. They illustrate not only the dramatic 
instinct of the human heart but the method by which 
men first began to represent life in word and act. 

Though the story comes early in the history of the 
race, we find a surprisingly small number of good story- 
tellers among even the great masters of literature. 
According to Carlyle, ability to tell a story is a high 
mark of genius. To state a simple sequence of events 
requires the highest characteristics of art, simplicity, 
and sympathetic responsiveness. The power to state 
events truthfully, without moralizing or theorizing, is 
found in only the supreme masters, such as Homer and 
Shakespeare. Thus, while story-telling marks the first 

59 



60 THE MESSAGE 

steps in literature, it marks also the climax of literary 
power. 

If there are few great story-tellers in literature, still 
fewer can naturally and adequately interpret a story by 
the voice. Upon the stage a story is always regarded 
as a bore. When a story occurs in a play, it must be 
told rapidly and rushed over as soon as possible, or it 
will interfere with dramatic movement. In life, the 
long-winded story-teller is a notorious hindrance to 
conversation. Yet, a well-told story is possibly the 
highest means of entertainment, and a popular and 
influential form of art in every age. 

To read or tell a story well requires imagination and 
sympathy. The pictures must be vivid, and must move 
naturally and vigorously. Idea must follow idea with- 
out effort, for the true story flows freely, and there 
must be a simple and childlike attitude and sympathetic 
response to every event. A story is a part of life. The 
reader must so identify himself with each event that 
every scene shall live and every event move. 

A story must secure attention. No doubt must be 
left in the listener's mind as to the central point of 
interest; and as the reader passes from one event to 
another, there must be such a discrimination and vivid 
realization of each idea in succession that there is varia- 
tion in all the modulations of the voice. A story should 
be spirited and animated, and the fundamental event or 
object in each scene must be so vividly portrayed that 
the subordinate parts will be thrown into the back- 
ground. "The secret of boring people," says a French 
proverb, "is to tell everything." If the reader accentu- 
ates with meditative seriousness every possible detail or 



THE NARRATIVE SPIRIT 6l 

idea in a story, he destroys its movement. A true story 
must have perspective as well as movement. The 
reader's own imagination and sympathy must be awake. 
If he is cold and indifferent, how can he expect to 
interest his hearers ? 

A story should never be a mere succession of pic- 
tures. It implies characters, and a dramatic instinct is 
needed to see things from the point of view of different 
men. All dramatic poetry is founded on the story, and 
a story that is worth telling always includes a dramatic 
element. A story is the basis also of epic poetry. 

The reader must apprehend that a story contains not 
only scenes, situations, and characters, but events and 
impressions of events. In order that we may realize 
the effect of events upon the participants, the story must 
constantly vary in movement. 

The stories of the Bible have a strong hold upon the 
human heart, told as they are with the simplicity and 
naivete" of a primitive age. They are not pieces of 
rhetorical or literary display, nor are they garnished 
with affected, far-fetched allusions. They are simple, 
dignified, and sublime narratives, and present the char- 
acters of men and events in the most direct and truthful 
manner. The wickedness of the participants is not 
mitigated, nor are events put forward with ingenious 
theories or explanations. 

The first step in the development of power to inter- 
pret the Bible by the voice, demands necessarily a study 
of the Bible story, and the best method of presenting it. 
It is also the first interpretation which is demanded of 
every one. Who has not read a Bible story to chil- 
dren ? The interest awakened by these stories, and the 



62 THE MESSAGE 

endeavor to read them for himself, has been one of the 
first steps in the education of many a child. 

It is a curious fact that those who have made so 
much of the literary study of the Bible have nothing 
to say in regard to the Biblical story. Possibly it is 
because the story cannot be printed in an artificial form 
like the so-called "sonnet,"' or "envelope form." 

As an illustration of the character of the Bible story, 
take the fifth chapter of 2 Kings. Xaaman is here 
introduced to us as "a great man " in Syria. Then the 
reader comes upon a fact that awakens sympathy and 
regret, before which he pauses usually after the word 
"but." He changes the texture, color, key, and move- 
ment of the voice in rendering "but he was a leper." 
To read the story requires the accentuation of the cen- 
tral conceptions. There are few antitheses, and, there- 
fore, the points are presented in such a way as to 
awaken simple attention. When the reader comes to 
such a clause as the last one of the first verse, there 
must be not only changes in feeling and sympathetic 
realization, but the pauses and many changes introduced 
must emphasize also the real theme and spirit of the 
story. 

The reader then returns (v. 2) to the narrative spirit, 
introducing "the little maid" with sympathetic atten- 
tion, especially giving the last clause suggestively, to 
indicate her position. We sympathize with her and 
linger over her words (v. 3), realizing her simple faith. 
A story interests on account of the sympathetic partici- 
pation of men in each other's lives. Hence it demands 
a simple yet adequate presentation of the character and 
point of view of each participant. 



THE NARRATIVE SPIRIT 63 

In the fifth verse, the thought centres upon the letter 
from king to king. We must appreciate the point of 
view of the king of Syria, who would naturally send the 
letter to the king of Israel rather than to the prophet ; 
so that " letter " is the centre of attention and the words 
" King of Israel" are naturally inferred. A long pause 
is needed in verse 5, and great change of pitch, to 
indicate that he refers back to Naaman. We take some 
interest in the description of the presents, on account of 
the outcome of the story, and because it pictures Ori- 
ental custom, and shows the sincerity of the king of 
Syria. 

As the king of Israel reads the letter, notice how we 
identify ourselves with him. Curiosity, attention, and 
the fact that we also know its purport, cause the letter 
to be read more rapidly than the descriptive clauses. 
But the conduct of the king after reading the letter will 
naturally surprise us, and the fundamental law of vocal 
interpretation requires us to express the impressions 
which would be naturally produced by the events. So 
we suggest surprise at "rent his clothes," and sug- 
gest something of the spirit in which he speaks. We 
must truthfully realize in all stories the characters and 
motives of men, since all " literature is a criticism of 
life " ; and this is preeminently true of the story. 

We must introduce Elisha in the last clause with a 
feeling of interest. Note how many antitheses may be 
awakened. An accent upon "Israel" would indicate 
national pride, or would bring up an antithesis that 
there was no prophet in Syria. The accentuation of 
"is" would imply that the prophet knew all about the 
story of the little maid ; emphasis on " know " would 



64 THE MESSAGE 

imply that Xaaman had doubts ; emphasis upon u he " 
would suggest that the king had forgotten that there 
was a prophet ; salient emphasis upon " prophet " would 
indicate that while Israel had no king, it still had a 
prophet ; which would be almost an insult to the king. 
There should be some emphasis, but not enough to 
imply an antithesis. This may seem a fine point, but 
vocal interpretation is full of such elements, which can- 
not be reduced to mechanical rule, and which each 
reader must decide for himself. 

In the ninth verse we have a vivid picture which the 
reader must present as simply and definitely as possible. 
In the tenth verse, the message of the prophet will be 
given with great kindliness, without any antagonism, 
but with the simple attitude of one who appreciated the 
dignity of the situation. There is some surprise at the 
fact of a messenger beins; sent, which should be indi- 
cated, of course, in the reading. We linger with inter- 
est over the directions in the tenth verse, and also over 
the promise. Then we are brought into an attitude of 
regret and also of pity because Xaaman was wroth. 
This is shown by changes of color, key, and movement. 
From this impression we pass over to an objective or 
dramatic interpretation of his thought and feeling. He 
feels the superior beauty of the rivers of his own coun- 
try as contrasted with Jordan and his antitheses would 
be very strong. The last clause of verse 12 must be 
given with narrative simplicity and intensity. A great 
contrast comes in verse 13. Here we describe with 
sympathetic admiration the act of his servants, and 
tenderly realize the spirit of humility in their appeal 
to so great a man on such a delicate subject. No 



THE NARRATIVE SPIRIT 6$ 

amount of mechanical analysis or mere rules can give 
the least hint how this should be read. It requires 
imagination and sympathy and dramatic insight to 
realize just how the servants approached their master. 

In verse 14 we feel great admiration for Naaman 
when he yields to his servants and obeys the directions 
of the prophet. Before stating the result there is a 
long pause ; we express our wonder at the miraculous 
change, and give the words slowly and intensely. We 
participate in his joy and admire him as he returns to 
the man of God, to express his gratitude. We suggest 
the urgency of his request that the man of God should 
accept the presents ; but we also admire the dignified 
and noble attitude of the prophet in verse 16, and 
accentuate strongly his impersonal, unselfish, and noble 
spirit. The entreaty of Naaman and his explanation 
and apology for going into the house of Rimmon are 
very natural. The prophet maintains the same digni- 
fied manner in his reply. The " Go in peace " must 
be given with such dignity as to furnish the climax of 
the whole story. 

After a pause and with a marked change, the second 
part of the story (v. 20) is begun with attention directed 
to Gehazi. His talking to himself should be suggested 
without literally imitating him or identifying ourselves 
with him, because we are not in sympathy with his 
speech, and this is accordingly given more rapidly. We 
enter into the situation and admire Naaman for alight- 
ing from his chariot, although but a servant is following 
him ; it shows the greatness of his gratitude to the 
prophet. Gehazi's lies and requests for silver and rai- 
ment are given with a neutral coloring. We have no 



66 THE MESSAGE 

sympathy with his lies, nor is it necessary to suggest 
much more than his meaning. But our attitude toward 
Naaman is different, and we strongly accentuate the 
word "two" in his desire to give double what was 
requested. Then follows one of the most dramatic of 
passages. Elisha's question and Gehazi's pretended 
indifference are followed by the most intense of re- 
bukes. Elisha's condemnation should not be given 
with anger. It contains an element of patriotism, and 
the high realization of the opportunity to emphasize the 
greatness of Jehovah in the mind of this foreign war- 
rior, and to leave nothing that would mar his conception 
of God. It is sublime in its intensity and indignation, 
but shows also his grief at the base conduct of his 
servant. The same is still more true of the prophet's 
description of his doom. This should be given slowly 
and intensely, as something which in the nature of the 
case was inevitable, not as a personal or angry inflic- 
tion of a curse. The sublimest point in the whole story 
is found at the close of the last verse, which should be 
given slowly and on a lower key. The reader feels a 
certain awe at the calamity and terrible fall. He must 
identify himself with the scene, and appreciate the 
significance of what had happened. He does not expe- 
rience pity nor sentimental regret, nor even the same 
kind of emotion that he felt for Naaman's leprosy, but 
instead a sense of great reverence and awe at the 
punishment which comes upon Gehazi as the result of 
his evil-doing. 



VI. THE DIDACTIC SPIRIT 

All expression primarily aims to make men think, and 
all language is an appeal from one mind to another. 
The conscious recognition and intellectual perception 
of ideas is of prime importance. Language is composed 
of signs and symbols. These express the actions of 
the faculties or powers of mind in the speaker, and their 
first intent is to awaken the same faculties in others. 

The conscious recognition in one man of the ideas of 
another is primarily intellectual. Even to be in sympa- 
thy men must think similar ideas. Reason is the pri- 
mary characteristic of man. Hence the appeal to reason 
must be an essential element in all expression. To 
bring the thinking of one man into unison with that of 
another is the basis of all communication. 

There are many forms of the didactic in the Bible. 
We have first what has been called the "Wisdom Lit- 
erature," consisting of remarks and sayings or old saws 
regarding the ordinary events of life. These should be 
given weight and relative value. Proverbs should be 
read with great attention to the transition of subjects. 

Another literary form close to the didactic is that of 
the epistle. Paul's letters have a peculiar and distinct 
character, often rising into eloquence. Sometimes they 
exhibit the personal affection of a letter to a friend. 
But everywhere, we feel the familiar and personal 
appeal of a real letter. The book of Luke and the 

67 



68 THE MESSAGE 

book of Acts are also letters written to Theophilus, 
though, on account of their narrative spirit, this fact is 
often forgotten. But though these books are presented 
definitely as pictures, they show in fact many character- 
istics of a letter. 

A third form of the scriptural didactic is the collo- 
quial. It may be illustrated by the epistle of James, 
which is even more familiar than the epistles of Paul. 
The discussion about respect of persons regarding one 
who was asked to occupy a good place because he was 
well clothed, and the poor man who was invited to sit 
on the footstool, may be read to-day with definite appli- 
cation to many churches. 

The vocal expression of the didactic spirit demands 
a careful study of conversation. It demands also the 
simplest elements of naturalness. To awaken and 
dominate thinking in another, we spontaneously make 
our inflections pointed. If we take the simplest phrase, 
we find that in trying to win attention and get another 
man intellectually to realize what is said, there is an 
extension of what is called conversational form, inflec- 
tion, change of pitch, pause, and touch, and all the pri- 
mary elements of naturalness. 

The didactic portions of the Bible are easiest to ex- 
press, and they should be among the first which the 
Bible reader endeavors to master. As they contain 
little feeling, a simple accentuation of the thought is 
what is most necessary. While the didactic spirit is 
simple, yet from another point of view it is difficult. 

In one sense the sublimest and most difficult thing 
the reader has to do is to read the plainest prose in a 
way to awaken interest. There are also peculiar dangers 



THE DIDACTIC SPIRIT 69 

in the development of the true didactic spirit. One is 
the repression of all feeling. When a reader is merely 
emphasizing the meaning, he is in danger of eliminat- 
ing all emotion, in order to become purely judicial and 
to give facts merely for their own sake unrelated to 
human experience. 

Many persons read the Bible in a critical attitude, 
and this is the special danger of the student. While 
this attitude is at times necessary, yet it is but tempo- 
rary. Even the most didactic portions of the Bible, 
such as the Proverbs, should be presented with impres- 
sive seriousness and a deep realization of truth. The 
intellectual spirit is one of eagerness and earnestness. 
Thinking predominates, but thinking is never wholly 
isolated from emotion. 

There is another danger to be guarded against, — 
that of a patronizing spirit. A scriptural truth is often 
given in such a way as to imply that it is for the hearers 
and not for the reader, although the reader may be 
unconscious of this lofty attitude of handing the truth 
down as if to those below him. Such an apparent 
attitude is a serious fault, and carries the reader into 
the neutral realm where sympathetic identification with 
truth becomes impossible. The genuine didactic spirit 
blends harmoniously with the lyric and dramatic spirit, 
as with the epic. The false didactic spirit does not do 
this, but becomes dogmatic, negative, neutral, cold, 
when it does not descend to the trivial. 

The didactic spirit alone is not the highest element in 
expression. It may be the basis, but it must be co- 
ordinated with the higher purposes and experience of 
the human soul. It comes in often to discharge its own 



70 THE MESSAGE 

specific function, not in opposition to the other elements, 
but in direct cooperation with them. In nearly all 
cases it is introductory and subordinate to the higher 
elements of literature. 

As an illustration of the genuine didactic spirit, the 
reader should take some specially intellectual passages 
in Proverbs, and give the truth with great saliency and 
clearness, but always with weight. While speaking as 
naturally as in common conversation, he should be able 
to accentuate the rhythm by giving the words slowly 
and impressively. He should avoid merely conveying 
the meaning, without suggesting its importance. Those 
who teach must have faith in the truth and faith in the 
possibilities of those whom they would awaken. 

One of the finest passages for the study of conversa- 
tional naturalness that can be found is the epistle of 
James. Take, for example, the passage upon the tongue, 
(chap. iii). The directness of James should be accentu- 
ated. The reader should read this as if talking to one 
man, and at the same time not merely teaching that 
man, but realizing the application of the truth to him- 
self. The great contrasts between the ideas and the 
illustrations should be especially marked. All discrimi- 
nations, and all transitions in the attitude of the mind, 
should be emphasized. Still another illustration is 
James's idea of Faith (ii. 14-26). Each new illustration 
needs to be strongly accentuated to lead the mind of the 
hearer onward. 



VII. THE ORATORIC SPIRIT 

Probably no form of human expression is more dig- 
nified and important than Oratory. In advancing any 
cause of civilization, accomplishing any reform, or 
perpetuating liberty, oratory has always been the most 
necessary art. There is a tendency in our time to sneer 
at oratory, but as Professor Jebb has well said, the Muse 
of Eloquence and the Muse of Liberty have always 
been twin sisters. Oratory, more than any other art, 
is founded upon the idealization of man. Wherever 
oratory has flourished, liberty, civilization, and progress 
have been found. Where it has been despised, or 
neglected, there liberty has lost its hold. As it is the 
direct personal presentation of truth, the expression of 
the desire of one to win the cooperation of others, even 
the stating of truth in such a way as to save life, it is the 
most emphatic expression of truth possible. Behind 
all true oratory, there exists conviction. The oratoric 
spirit, therefore, is the presentation of thought with the 
suggestion of the greatest weight and importance. 

It is not surprising, therefore, to find the Bible full of 
the spirit of oratory. Later investigation of the prophet- 
ical books has found that these are, in the main, frag- 
ments of orations or sermons. The prophet was not 
primarily one who foresaw ; he was a seer in a higher 
sense. He realized intensely the life of the moment. 
He saw into the life, the needs, of his own age, and 

7i 



72 THE MESSAGE 

related all to the ideal purposes and intention of 
Jehovah. The prophet is one who sees things as God 
sees them. Isaiah was statesman, orator, and prime 
minister of the nation. The prophets were the teachers 
of their age, representatives of the deepest spiritual life 
of their time. Everywhere their appeal to conscience, 
their rebuke of sin in high places, shows the oratoric 
spirit. Without a perception of the genuine nature of 
this spirit, much in the Bible cannot be really understood. 

The salient characteristic of oratory, as distinguished 
from other forms of art, is its directness of purpose. 
This does not imply, as many think, that other arts 
have no purpose. The play of " Macbeth " has a pro- 
foundly moral motive ; but in the drama the primary 
aim is to portray faithfully the facts of nature and of 
human life and to impress the living scene upon the 
audience. The purpose in dramatic art and in painting 
and sculpture is indirect ; that is, the artist keeps his 
purpose in the background, always subservient to 
fidelity of portraiture. The poet, painter, and sculptor 
primarily aim to be true to the larger and broader aspects 
of nature and humanity. 

While oratory has something of this fidelity to nature, 
while the true orator struggles to speak the truth, he 
endeavors to present it forcibly and directly to the 
consciences of men. His purpose is rarely indirect. 
Poetry, painting, and sculpture endeavor to awaken the 
faculties of man to the apprehension of the truth ; but 
they leave a man to act as he pleases when once 
awakened. The orator not only endeavors to rouse the 
man but to direct him definitely to the road he should 
take. Oratory seeks such truths and illustrations as will 



THE ORATORIC SPIRIT 73 

influence the audience to see the truth from one point of 
view. The painter, the poet, the dramatist, on the other 
hand, endeavor to present the truth in a manner likely 
to lead the observer to realize the broader truths of 
nature, and thus influence the man unconsciously. The 
orator endeavors directly and consciously to persuade. 

It will be seen, therefore, that the genuine spirit of 
oratory, as related to vocal expression, depends upon 
the realization of the purposes possible to a human 
being, and of the means by which he can influence his 
fellow-men ; and the relation of all these to their right 
expression through the voice. 

The oratoric purposes divide themselves according to 
the powers or faculties which must be awakened in the 
audience. The lowest plane on which the orator may 
approach his audience is that of instruction. 

The speaker must first of all make his audience think. 

Instruction is the first purpose, therefore, which must 
be adopted in speaking. Especially at the beginning it 
is necessary for the orator to come into mental union 
with his hearers. Men must think together before they 
can feel together. 

The vocal interpretation of oratoric passages demands 
accentuation of inflection with all the elements of con- 
versational form and the emphatic pause. These 
appeal directly to the reason, and awaken thought and 
deliberation. 

This element of instruction or explanation is well 
illustrated by Paul's defence before Agrippa. He first 
states the facts simply and quietly, and tells the story 
of his life ; thus interesting his hearers and gradually 
leading to a higher plane of spiritual persuasion. 



74 



THE MESSAGE 



Paul, as a true scholar, always begins in a manner 
to awaken thought, as, for example, in his address at 
Athens (Acts xvii. 16-34). He begins by an oratori- 
cal expedient, thinking with the men before him, in 
order to get them to think with him. Like a true orator 
he never starts with antagonism but always on a com- 
mon plane with his audience. So here he says : " I per- 
ceive that in all things ye are very religious. As I was 
passing by, I saw an altar with this inscription, ' To the 
Unknown God.' " And from these words on one of their 
own altars he proceeds to the enforcement of his higher 
persuasion. He quotes also from one of their own 
poets, to show the foolishness of worshipping statues 
and graven images, which indicated a low conception of 
the Divine, and must give way to the higher realization 
of Him "in whom we live and move and have our 
being." 

The awakening of feeling is another purpose which 
peculiarly belongs to the orator. When Paul felt the 
spirit of antagonism in his audience after his arrest in 
Jerusalem (Acts xxiii. 1-10), he threw a firebrand among 
them, which roused them to conflict with each other, and 
brought part of the audience to his side, so that in the 
midst of their great excitement he escaped. He incited 
the Pharisees to oppose the Sadducees, and thus identi- 
fied himself with one class in opposition to another, in 
order to win fellowship of feeling with at least one part 
of his audience. 

To one of the most turbulent of all audiences he 
exclaimed, " I am a Jew, born in Tarsus of Cilicia, but 
brought up in this city at the feet of Gamaliel, instructed 
according to the strict manner of the law of our fathers, 



THE ORATORIC SPIRIT 75 

being zealous for God even as ye all are this day." He 
spoke to them "in the Hebrew tongue," which made 
them " the more quiet." He then proceeded to lead his 
audience to a broader perception of the principles of 
Christians. 

Another purpose in speaking is rebuke. A marvel- 
lous example of this is found in Nathan's rebuke of 
David (2 Sam. xii. 7). Notice his introduction. He 
adopts the narrative spirit for a didactic purpose. He 
tells David a simple story, and when David has given 
expression to his anger, the whole bearing of Nathan 
changes, and with intense feeling he says very slowly 
and impressively, "Thou art the man," and follows with 
a long and severe rebuke from Jehovah. The short 
sentence, "Thou art the man," must be spoken in the 
spirit of all true rebuke, namely, with deep regret ; not 
with antagonism, but in such a way that the man will 
condemn himself. This is true of all the rebukes in the 
Old Testament and in the New. When read in the 
spirit of mere anger they are perverted. 

This is not only true of the Bible, but it is the true 
spirit of all oratory. The orator must not give way to 
denunciation or to the expression of his own personal 
feelings. He must rise to something higher. He must 
make men think and feel for themselves ; he must lead 
men to reason and persuade them to act in accordance 
with their own convictions. Men are only truly influ- 
enced by awakening their higher faculties. 

The primary spirit of all art is to evoke or draw forth 
the man himself, not to drive something into him from 
without. A mere command or domination of another by 
the speaker's will is not oratory. It is only on the low- 



j6 THE MESSAGE 

est plane that even information is given. The higher 
the purposes of the orator, the more does the speaker 
awaken the real feeling of the audience. It is their 
judgment, their patriotism, their conviction of sin, their 
realization of duty, that he seeks to arouse. 

There is a class of men who like to be dominated. 
They do not wish to think, preferring to have their 
thinking done for them, and to join in the ranks and 
march whenever they find a military leader. Notice, 
for example, how popular were the Baptist's denuncia- 
tions, as compared with the higher spirit of Christ. The 
men of that day seemed to respond at once to the Bap- 
tist's fierceness. He was the kind of a reformer longed 
for by his contemporaries. 

In rendering denunciatory passages, should they be 
given with the dramatic spirit, with the intense fierce- 
ness of the original situation, or with a higher, broader 
spirit of persuasion, with a sense of awe which these 
words should produce ? Probably the latter, on account 
of the dignity of the Scriptures, and the inability of 
hearers at the present day to realize the spirit with 
which the prophets spoke their denunciations. Still an- 
other reason is the fact that all true oratory forbids the 
lower passions, and must accentuate the higher emotions. 

Righteous indignation must never degenerate into 
anger. The prophet continually shows love for his 
country and profound regret at the sins of his people. 
The reader must continually emphasize the sudden 
transitions to the deepest tenderness in references to 
the character of Jehovah and His promises. Nor should 
he overlook the deep thrill of hope for triumph in the 
remote future. 



THE ORATORIC SPIRIT 77 

The highest purpose in oratory is persuasion. In- 
struction is chiefly intellectual ; the rousing of men is 
chiefly passional ; but persuasion demands a spiritual 
awakening and a realization of the Divine. It is an 
appeal to the highest faculties of the human soul. 

Whoever would faithfully and truly interpret the 
Scriptures, must, therefore, make a conscientious en- 
deavor to render such passages as " Comfort ye, com- 
fort ye, my people." He must try to apprehend the 
profound tenderness, the spiritual awakening, in such 
words as, " He will feed his flock like a shepherd, and 
gather the lambs in his arms, and gently lead the ewe- 
mothers." He must feel the point of view of the orator 
as he makes his tender appeal to memory and spirit- 
ual realization : " Hast thou not known, hast thou not 
heard ? The everlasting God, Jehovah, the Creator of 
the ends of the earth, fainteth not, neither is weary; 
there is no searching of his understanding. He giveth 
power to the faint." (Is. xl.) 

In the very midst of what seems to us a fearful ar- 
raignment, like that found in Isaiah i., we have such 
tender words as these, " Come now and let us reason 
together : though your sins be as scarlet, they shall be 
white as snow." And how often do the speakers of the 
Old Testament turn and pour out their grief in such 
words as, " How is the faithful city become a harlot ! " 

Readers are strongly tempted to give with physical 
and passional denunciation, " Woe to them that go down 
to Egypt" (Is. xxxi. 1), and entirely fail to render the 
intensity and tenderness a few verses farther on (v. 5), 
" As birds hovering (over their young), so will Jehovah 
of hosts protect Jerusalem ; he will protect and deliver 



78 THE MESSAGE 

it." It is the latter passages which are more difficult 
to render, but which are necessary to give the actual 
spirit of the message of the prophets. Any man can 
be angry, and enter into sympathy with antagonism ; 
but the prophet's heart was deeply moved, and even in 
his wrath against sin felt it as a calamity to himself. 
He did not have the anger or antagonism of a mere 
denunciatory critic. Possibly there was less transition 
from this terrible antagonism to this tender persuasion 
than we are likely at first to imagine. 

Some of the sublimest illustrations of the spiritual 
element in oratory are found in the book of Isaiah. As 
an example of this, take Isaiah's denunciation of the 
sins of Jerusalem, and his foretelling of its final destruc- 
tion by the Assyrians. 

In Isaiah v., his introduction shows an illustration of 
the method adopted by all misunderstood speakers. He 
opens with an idyllic song or story of a vineyard, and 
gradually shows its application, until he declares with 
great force and directness that " the vineyard of Jehovah 
is the House of Israel," and with emphatic language de- 
scribes what Jehovah had naturally expected and what 
He had found. 

Then follow various "Woes." These woes were pro- 
nounced upon the different classes of Israel who had 
perverted the truth ; these were the kinds of wild 
grapes. 

The argument and special character of this can be 
indicated by strong emphasis upon the words which 
present the central theme at issue. The woe is pro- 
nounced first on the land-grabbers, " Those who 
join house to house, and that lay field to field." The 



THE ORATORIC SPIRIT 79 

second woe is upon those who " follow strong drink" 
(v. 11). This expression should be strongly emphatic, 
showing that this is another class. The next woe is 
upon those " who draw iniquity," guilt, or punishment, 
with a cart-rope (v. 18). The next woe is upon those 
who "call evil good and good evil" (v. 20). The 
fifth woe is upon the egotists, the next upon the takers 
of bribes. 

At verse 25, the prophet, on account of these condi- 
tions, portrays the anger of Jehovah, which should be 
emphatically rendered. Then comes a stirring refrain 
which presents a picture of Jehovah with uplifted arm 
ready to strike ; and after each calamity which Isaiah 
portrays, possibly in the immediate past, he employs 
these words, " For all this His anger is not turned away, 
and His hand is stretched out still." On account of 
this refrain it is generally understood that the passage 
(ix. 8 to x. 4) belongs to the same oration. 

The power of Isaiah, especially his command of passion 
and denunciation, are shown in v. 19, and also in ix. 10. 
Here is found a marvellous picture of the Assyrians be- 
fore, and the Philistines behind. Rebellion continues, 
and there is no return, and there follows another fear- 
ful portrayal of calamity, closing with the same refrain. 

What all these calamities refer to we cannot exactly 
know ; but the summary of these woes (x. 1-4) should be 
made strongly emphatic. Who oppress the needy and 
poor ? " Those who make widows their spoil and fathers 
their prey." Then comes the great refrain and the sub- 
lime close of the fifth chapter, verses 26-30. He lifts up 
an ensign, and signals for the nations to advance, and 
will "hiss" for them or "whistle" from the end of the 



80 THE MESSAGE 

earth. That is, he will whistle as for dogs to pursue 
the prey. "They shall come speedily." "They shall 
roar like young lions, laying hold of the prey, carrying 
it away safe ; there shall be none to deliver." This is a 
plain intimation of the great calamity, the destruction by 
the Assyrians, which was to follow. 

By remembering that there were always in Jerusalem 
an Egyptian party and an Assyrian party, and that one 
grew according to the success of the Egyptians, and the 
other according to the success of the Assyrians, we can 
perceive the purpose of the prophet, which was that 
Judaea should not ally itself with either party, but rely 
on Jehovah instead. 

Many of Isaiah's most important orations are for the 
independence of his country, that there should be no 
alliance with Egypt on the one hand nor with Assyria 
on the other, but continued reliance upon Jehovah. The 
oration or series of orations from the thirtieth chapter to 
the thirty-third, are made clear by realizing the histori- 
cal situation. 

At the death of any Assyrian king, the subjugated 
kingdoms always rose in revolt. The great Sargon 
died in 705. All rebelled, and Sennacherib started on 
his career of conquest, beginning with Babylon. Dur- 
ing this time, the Egyptian party in Jerusalem was in 
the ascendant, and sent presents to Egypt. Against all 
this, Isaiah protests, calling Egypt " Rahab-sit-still " and 
" Boaster-do-nothing." He employs the figure of a 
bulging wall (xxx. 13) which will suddenly collapse, to 
illustrate the penalty of those who trust in Egypt. 

In the oration in chapter xxix. Isaiah uses an enigmatic 
word, Ariel, which meant either the lion of God, or the 



THE ORATORIC SPIRIT 8l 

hearth of God, and vaguely hints at coming destruction, 
though Sennacherib is yet afar off, warring against 
Babylon. This oration seems to have stirred up the 
politicians to turn to Egypt, and accordingly we have 
the more profound and sublime oration in the thirtieth 
chapter where he represents Jehovah as speaking, " Woe 
to the rebellious children, that take counsel but not of 
me ; that make a league but not of my spirit" This is 
to be made strongly emphatic because of an implied 
antithesis. 

Then he comes out plainly with the words, " they that 
go down into Egypt and have not escaped my mouth." 
He proclaims, " The strength of Pharaoh shall be our 
shame." He speaks of vipers and serpents, possibly 
referring to the peculiar worship of the Egyptians, and 
closes with the epithet, " Rahab-sit-still," which possibly 
was a figure of the treacherous alligator pretending to 
be asleep. He declares that " only in returning and 
rest" shall they be saved. But with sudden transition 
he cries out, " Ye would not." " A thousand shall flee 
at the rebuke of one, at the rebuke of a few shall ye 
flee." " Ye shall be left as peaks on a mountain top or 
an ensign on a hill." Then with infinite tenderness he 
proceeds, " Jehovah will wait that He may be gracious 
unto you, for He is a God of judgment; blessed are all 
they that wait upon Him." Then follows a passage full 
of tenderness and comfort. 

Isaiah himself was, according to tradition, sawed 
asunder with a wooden saw in the reign of Manasseh. 
In the great persecution, his words were torn to pieces, 
and a later generation gathered together these fragments 
that furnish the sublimest oratory of the Old Testament. 



82 THE MESSAGE 

The noblest illustrations of spiritual persuasion are to 
be found in the words of the Master. We feel His pres- 
ence as a living speaker standing before men as He sud- 
denly turns upon them with the sarcastic words (Luke 
xiii. 31-35), " Go tell that fox, I must work to-day and to- 
morrow." But notice the infinite tenderness of the 
words that follow, " O Jerusalem, thou that killest the 
prophets and stonest such as are sent unto thee, how 
often would I have gathered thy children together, as a 
hen gathers her own brood under her wings, but ye 
would not." 

Persuasion everywhere pervades the words of the 
Master. Even his denunciations must be given with 
infinite regret. 

These passages are short, and are followed by that 
which is deep, persuasive, and spiritual. The reader of 
the Scriptures may well despair of giving even a feeble 
echo of the tenderness that is in the words, " Come unto 
me, all ye that are weary and heavy laden, and I will 
give you rest." 



VIII. THE ALLEGORIC SPIRIT 

One of the most difficult of all questions relates to the 
double meaning of Scripture. In every age of the world, 
on account of persecution, misconception, or the low plane 
of intelligence, reformers have been compelled to state 
simple facts so as to mean something deeper. " Thou 
canst not know now, but thou shalt know hereafter," is 
the statement of a universal fact. " We see only what 
we are." The sun cannot rise at midnight, nor can a 
truth be received before men are prepared to receive it. 
" Pour pure water into a muddy well, and at first you only 
disturb the mud." When Jesus began his work, there 
was a universal feeling that the Christ was to come and 
establish a literal kingdom. He was to restore the 
Throne of David and the splendor of Solomon. He was 
to glorify the Jews only to make them the rulers of the 
world. To lead men to right conceptions, Jesus spoke 
in parables. 

Allied to this double meaning is what may be called 
the allegorical spirit of the Bible. There has always 
been a peculiar fascination to men in the presentation 
of abstract truth by means of some objective symbol, and 
this is true not only of myths but of all expression. 
An idea must be illustrated ; it must be put in an objec- 
tive form. 

The allegoric spirit plays an important role in the 
early history of all literature. It would be, therefore, 

83 



84 THE MESSAGE 

unnatural not to expect to find something of the alle- 
gorical in the Old Testament, and possibly more of it is 
there than has yet been discovered. How far the book 
of Hosea is simply history, and how far the prophet 
uses symbols — his so-called wife simply standing for 
the chosen people — is a matter of dispute. 

Note, for example, the close of the book of Ecclesi- 
astes (xii. 1-8). "The keepers of the house" are the 
hands; "The strong men" are the legs; "the grind- 
ers " are the teeth ; " those that look out of the window " 
are the eyes ; the ears are " the doors in the street " ; 
the voice, "the daughters of music"; the white hair of 
the head is " the almond tree " ; and some have gone so 
far as to identify " the silver cord " with the spinal col- 
umn, "the golden bowl" with the skull, "the pitcher, 
at the fountain " as the heart. It is possibly too ingen- 
ious a speculation to identify these literally, but it is in 
striking accord with a most important phase of human 
language, especially in the early stages of literature. 

Possibly the most specific instance of the failure of 
the Church to recognize the allegoric spirit of the 
Bible is furnished by the present attitude toward the 
book of Jonah. The very mention of Jonah and 
the whale awakens a smile if not a spirit of antago- 
nism. Ministers now hardly dare to read the book 
aloud. But when we look at it as poetry, we find 
it one of the marvellous books in the Old Testament, 
conveying a deeper lesson than almost any other of the 
shorter prophecies. Its theme is such that the author 
would not dare to state it directly ; it could only be sug- 
gested in the form of fable. Its lesson was that Jehovah 
was the God of the whole earth and not the local Deity 
of the Hebrew people. 



THE ALLEGORIC SPIRIT 85 

We should read the story with the thought in mind 
that Jonah is not an individual but a representative of 
Israel, one who is sent to proclaim to all the earth God's 
love, by a call to repentance ; who shrinks from the real 
spiritual function to which he was chosen, and for this 
reason is sent into exile ; that the Great Fish that swal- 
lowed him was Babylon. The sea was then the symbol 
of the heathen world. If we note the prayer of Jonah, 
we shall feel the burden of Israel in bondage. Then 
the Israelites are brought back from exile, and a second 
call comes. The heathen world, typified by Nineveh, is 
to be destroyed. Israel seats herself upon her own 
sacred hill to enjoy the destruction, and becomes angry 
when Jehovah grants His pardon. A fable within a 
fable explains the spirit of the book. A gourd is made 
to spring up over Jonah, who is very glad of its shelter; 
but a worm destroys the gourd, and Jonah is wroth. 
Then the book closes with the real message. And 
Jehovah says to Jonah, " Thou carest for a gourd that 
came up in a night and in a night has perished ; then 
shall I not care for Nineveh, the great city in which 
there are more than twelve times ten-thousand human 
beings, who know not their right hand from their left, 
besides much cattle ? " 

There are other poetic interpretations, but this of 
George Adam Smith is probably the soundest. Who 
does not cry out with him, " How long, O Lord, must 
Thy poetry suffer from those who can only treat it as 
prose ? On whatever side they stand, sceptical or ortho- 
dox, they are equally pedants, quenchers of the spiritual, 
creators of unbelief." 



IX. THE LYRIC SPIRIT 

Simple as the lyric spirit appears, yet it is exceedingly 
difficult to define it. The name, derived from the lyre, 
gives little suggestion ; it simply testifies to the fact that 
songs were given with an accompaniment by the lyre. 
It may indicate, however, that there is always a musical 
element in a lyric ; that is to say, a personal or sub- 
jective exaltation and intensity of feeling combined with 
rhythmic expression. 

In general, a lyric implies " some single thought, feel- 
ing, or situation." It nearly always implies brevity, 
some rapidity of movement, and the "coloring of human 
passion." In common with all other forms, lyric poetry 
implies intense realization, but it is the realization of a 
specific situation, and is usually subjective, passional, 
and personal. It is mainly concerned with neither 
character nor description, although a narrative or de- 
scriptive poem, when colored by intensity of personal 
feeling, often becomes lyric in spirit. 

The lyric is always rhythmic, but moves around one 
central theme rather than in a sequence of events. 
This concentration of the lyric, its poetic realization 
and sustained rhythm, make it the most passional of 
all forms of literature. It reflects the deepest and 
strongest feeling of the human heart. 

The lyric possibly had its origin in that earliest form 
of art or play, the song and the so-called dance ; that is 

86 



THE LYRIC SPIRIT 87 

the rhythmic, pantomimic action of the body united with 
the rhythmic pulsation of song. Sometimes this was 
performed in connection with musical instruments. 
Miriam, at the crossing of the Red Sea, furnishes, per- 
haps, an illustration or an allusion to such a custom, and 
the tambourine of the street-singing girl is supposed to 
be the successor of Miriam's instrument. 

There is always in a lyric a certain conciseness of 
expression, — the perception of a depth of feeling that 
cannot be expressed in words. All language is emo- 
tionalized and exalted into poetry by human feeling. 

It is for this reason that all prayer is lyric. Prayer 
cannot be didactic, for we cannot teach God. Prayer is 
rarely dramatic, for it is personal. Of all devotional 
lyrics, those in the Bible are considered the most 
wonderful. 

"It would be impossible," says Watts- Dunton, "to 
discuss adequately here the Hebrew poets, who have 
produced a lyric so different in kind from all other 
lyrics as to stand in a class by itself. As it is equal 
in importance to the great drama of Shakespeare, 
^Eschylus, and Sophocles, we may perhaps be allowed 
to call it the * Great Lyric.' The Great Lyric must be 
religious ; it must, it would seem, be an outpouring of 
the soul, not towards man but towards God, like that of 
the God-intoxicated prophets and psalmists of Scripture. 
Even the lyric fire of Pindar owes much to the fact that 
he had a childlike belief in the myths to which so many 
of his contemporaries had begun to give a languid 
assent. But there is nothing in Pindar, or indeed else- 
where in Greek Poetry, like the rapturous song, combin- 
ing unconscious power with unconscious grace, which 



88 THE MESSAGE 

we have called the Great Lyric. It might perhaps be 
said, indeed, that the Great Lyric is purely Hebrew." 

Watts-Dunton here names the two great elements of 
the lyric, unconsciousness and power. This depth of 
feeling, this sublimity and vividness of ideas, abruptness 
of realization, vigor of thought and word, are not found 
in other forms of poetry. 

The fire of the Great Lyric must be adequately real- 
ized and expressed by the reader of the Bible. 

So far as the structure of a song is concerned, the 
reader must understand its peculiar rhythm. There is 
no metre in the ordinary acceptation of the word ; but 
there is a rhythm far more profound. The so-called 
parallelisms first discovered by Robert Lowth have 
hardly yet received adequate attention. The parallel- 
isms enumerated by some of the best authorities are 
inadequate. These are usually given as synonymous, 
antithetic, synthetic, and climactic. That these lists do 
not cover the entire number of parallelisms is shown by 
the fact that sometimes the thought is synonymous, 
while the feeling is in contrast. In fact there is always 
a subtle contrast in feeling, if not in thought. Again, 
the same thought is sometimes presented from a dif- 
ferent point of view. Few realize that parallelism is 
primarily a form of rhythm. Metre is a rhythm of 
syllables, parallelism is primarily a rhythm of clauses, 
sentences, or lines, of thoughts, situations, or emotions. 
Metre is a mechanical or artificial expression of rhythm, 
but parallelism is more natural. The metre may be 
given mechanically and as a kind of sing-song, which 
merely charms the ear. The rhythm of the Psalms 
can be indicated only when the thought and feeling 
are fully understood. 



THE LYRIC SPIRIT 89 

The rhythm of clauses in the Psalms is very close to 
the rhythm of silence and speech in vocal expression. 
" Rhythm is symmetry in time as proportion is symmetry 
in space." If art is "play reduced to the principle of 
order," rhythm is the first reduction to order that we 
find anywhere. In rhythm we become conscious of 
time. It sustains force, and brings it into an orderly 
sequence. The parallelisms of the Psalms must be 
given, therefore, with the rhythmic alternations of 
intense attention and feeling. 

All metre, including the parallelisms of the Psalms, 
can be interpreted and its meaning revealed only by 
vocal expression. Ordinarily, critical analysis will find 
little progression in these clauses (Ps. cxxxix. 5): — 

" Thou hast beset me behind and before, 
And laid thine hand upon me. 11 

In the first line Jehovah is pictured as an advance and 
rear guard, but in the next line there is an expression of 
His protecting care, and a more personal feeling of His 
presence. In reading them, the second line should 
receive increase in tenderness, change of pitch and 
coloring. " Behind and before " gives a sense of secu- 
rity, but the laying on of the hand is an expression of 
tender regard. The thought, the critics will tell us, is 
the same ; but here we find a change in feeling, in the 
attitude of the mind, a contrast in emotion at least, 
which brings a distinctness of coloring to the last 
clause. There is more here than a mere repetition or 
even completion of thought. 

The vocal expression of the Psalms requires a special 
accentuation of the rhythm of thinking and feeling. 



QO THE MESSAGE 

A reader should accentuate the concentration upon the 
first idea, contemplate a moment in silence, and then 
give the word or phrase with a decision of touch that 
will justify the period of silence. The passing from 
idea to idea must be more regular, the changes of pitch 
also marked by regular steps, the inflections should be 
long and gradual, and the coloring of the voice as sym- 
pathetic as possible. Transitions in movement are 
frequent, and, as a rule, to be most effectively presented, 
the Psalms should be read more slowly than any other 
part of the Scriptures. 

In reading a lyric passage in the midst of prose a 
decided contrast should indicate the passage from the 
narrative to the lyric spirit. The parallelism or poetic 
structure and the increase and regularity of the rhythm 
should be strongly marked. In the account of Miriam's 
sOng (Ex. xv. 1-19) the first half of the first verse is 
prose. At the nineteenth verse we return to prose. 
There should be marked difference in the movement 
and form at these points. 

Nowhere should greater variety in the combinations 
of rhythm and melody be observed than in the reading 
of the Bible. Rhythm and melody are always present, 
but we have occasionally an accentuation of melody in 
direct contrast to an accentuation of rhythm. As an 
illustration, in the above passage we have a prose descrip- 
tion of Miriam with her timbrel leading the dance of the 
women ; but in verse 22, we come to Miriam's responsive 
song which is essentially lyric. In this we feel the 
very steps of the dance of joy and exultation. 

There are several difficulties involved in the proper 
rendering of a Biblical lyric. One of these is the sudden 



THE LYRIC SPIRIT 91 

transition, sometimes to be noticed in the very midst of 
a sentence, from talking about God to speaking to God. 
This, to some at least, seems a change from the lyric to 
the dramatic, but is perfectly natural and purely lyric. 
As the soul has an exalted realization of the presence 
of the divine, it passes naturally from reflection upon 
His attributes and characteristics to speech with Him, 
from an exalted realization of His personal presence to 
direct communion with Him. In common with all 
devotional literature the Psalms make little distinction 
between talking to the deeper self and to God ; at least a 
devout soul makes the transition easily and naturally. 

The best method of rendering such transitions is by a 
simple increase of intensity, a change of coloring or 
key. 

Another difficulty is the seemingly crude and unchris- 
tian character of some of the emotions. In some of the 
sublimest of these compositions, even in talking to God, 
the psalmist takes credit to himself for hatred of enemies. 
Should not such verses be omitted in public reading ? 
Where they cannot be omitted, there should certainly 
be some idealization, some softening of the asperity. 
Possibly these expressions are not always understood by 
us. The crude fierceness of the words reflects not only 
the spirit of the times but possibly also the imperfection 
of human language. But though anger may seem to 
be imputed to Jehovah in the words, there must be no 
anger ascribed to Deity in vocal expression. The reader 
must often regard the warning of Jehovah through the 
psalmist, " Thou thoughtest that I was altogether such 
a one as thyself." Only through our higher self do we 
approach Him. 



92 THE MESSAGE 

One of the dangers needing special attention in read- 
ing lyric poetry is monotony. Each specific idea must 
be accentuated. The changes and contrasts in feeling 
and in the rhythmic progression of the passion are far 
more numerous and more intense than most readers 
realize. Unless the direct shades of contrast in the 
attitude of the mind and in the situation are appreciated, 
the rhythmic parallelism will be lost, and the vocal 
interpretation of the Psalms will be mechanical and 
monotonous. 



X. THE DRAMATIC SPIRIT 

The term " dramatic " awakens a great variety of con- 
ceptions in different minds. To some persons it implies 
a formal composition presented with scenery and by 
actors, directly impersonating the various characters. 
To others, whatever is imitative or representative is 
dramatic. To still others, the dramatic refers to the 
presentation of a character or event rather than to de- 
scription ; and whenever a character really moves, and 
speaks for itself, or when no third person analyzes, 
makes remarks, or describes or explains motives, they 
perceive the dramatic. By such persons the word is 
frequently used in the sense of animated. Some one 
has said that Thucydides was a dramatic historian be- 
cause he could place events in such immediate juxta- 
position that they interpreted themselves without any 
explanation or moralizing. 

A leading judge once observed that the secret of all 
success is dramatic instinct. A teacher must have the 
power to see the subject from the point of view of the 
student, or he cannot teach. A lawyer must have in- 
sight into the motives of men. The preacher must com- 
prehend the nature of human experience and character, 
or his work will be a failure. " If I were wealthy," he 
continued, " I would endow a chair in every college for 
the development of the dramatic instinct." To this 
judge the word " dramatic " evidently implied insight into 

93 



94 THE MESSAGE 

character, or power to penetrate to the motive springs 
of conduct. 

There is no doubt that this broad interpretation of the 
word is the true one. Anything is dramatic which has 
relation to human character. Whenever there is action 
or movement, when a character of one type meets a 
character of another type in such a way as to reveal the 
peculiarities of both, the result is a dramatic situation. 
But more than this, whenever an idea is put in such a 
way that men feel the man behind it, whenever a scene 
is so portrayed that it becomes a living expression of 
human experience, in short, whatever suggests the em- 
bodiment of character is dramatic. 

Some years ago, a symposium on the dramatic instinct 
was published in the North American Review. The 
leading actors of the world practically agreed that the 
two elements in dramatic instinct were imagination and 
sympathy, — imagination giving insight into character, 
and sympathy the power of identification. 

Prose is a mere statement of fact ; history is a record 
of what has been said or done; but dramatic poetry 
reveals what a given character would say under such 
and such circumstances. That which a situation must 
necessarily call forth, or the impression a given event 
ought to make upon the soul, is the chief field of dra- 
matic poetry. 

If the word " dramatic " is to be defined as a formal 
representation of character, there is little of this in the 
Bible. The Hebrew was intensely subjective and per- 
sonal. He had none of the power of the Greek to "other" 
himself, to feel as others feel, to identify himself with 
various points of view or consciously to create the man- 



THE DRAMATIC SPIRIT 95 

ner of speech peculiar to one wholly different from him- 
self. Hence Hebrew literature centres in the lyric and 
the oratoric. 

The Song of Solomon, however, can be understood 
only as a dramatic composition. The book of Job is a 
dramatic poem. For the stage, we have a hill outside 
the city ; for scenery, a rising storm, the flashing light- 
ning, the rolling thunder, and a rainbow; for characters, 
Job and his friends, Satan, and even God ; and for a 
theme, the mystery of human suffering, the same found 
in the " Prometheus Unbound" of yEschylus, and Ham- 
let's "To be or not to be," the problem of all problems, 
the mystery of human existence. 

The Bible has many dramatic dialogues. The book 
of Micah, for example, has been considered by some as a 
mere mass of fragments ; but it is very suggestive that 
recent writers regard the book as a unit. This is no 
doubt because it has been discovered that the book 
is dramatic. Micah is often the speaker ; then it is 
the nation or Jerusalem, the mountains or Jehovah, that 
is impersonated. The prophet's imagination was so 
awake that everything lived and directly spoke his 
truth. 

Again, the attitude of the mind is sometimes so defi- 
nitely accentuated, that the change from one emotion to 
another is almost like a dialogue. For example, in 
Hosea xi., Jehovah speaks and expresses his tenderness 
toward Israel. " I took them on my arms, but they 
knew not that I healed them. I drew them with the 
cords of a man, with bands of love." Then suddenly 
the attitude changes into regret or indignation at their 
ingratitude in forgetting Jehovah. " My people are 



96 THE MESSAGE 

bent on backsliding." Soon the tenderness returns. 
" How shall I give thee up, Ephraim ; my heart is turned 
within me, my compassions are kindled together." His 
children " shall come trembling as a bird out of Egypt, 
and as a dove out of the land of Assyria." 

This contrast in attitude leads almost insensibly into 
a kind of formal dialogue between Jehovah, the prophet, 
and the people. Though in a primitive literature there 
is no indication of the name of the speaker, we must 
infer the dramatic spirit from the nature and feeling of 
the speech, and only by the dramatic spirit can the 
meaning be made clear. 

Dramatic conceptions are found all through the proph- 
ets. In fact, the whole Bible is in a sense dramatic. 
All its stories are simple and concise. Wherever we 
have simplicity and vigor, the dramatic is found. It is 
the dramatic character of the stories that makes them 
so popular. There are no involved reflections and 
moralizings, no long-drawn-out condemnations of the 
conduct of men, no preaching over events, or detailed 
descriptions. The characters live before us. Incidents 
are told with childlike simplicity, and are left to be real- 
ized by the soul itself. The Gospels are dramatic. We 
feel acquainted with the various characters portrayed 
in every scene. The disciples appear in all their weak- 
ness. We see the look of the Master, the remorse of 
Peter, the ambition of the sons of Zebedee, the bigotry 
and narrowness of the scribes and Pharisees. 

The parables are dramatic, the situations are human, 
the accounts short and pointed, the disposition and 
motives of the human heart are laid bare. 

This is not the place to enter into a discussion of the 



THE DRAMATIC SPIRIT 97 

infinite number of illustrations of the dramatic found 
in the different books. The Bible student must go for 
these to his Commentaries. All that can be under- 
taken here is to give illustrations of the mode of 
action which characterizes dramatic instinct. 

The true way to realize and discriminate the real 
spirit which animates the more difficult passages of 
the Bible is found in vocal expression. Nowhere does 
the spirit of the Bible so genuinely reveal itself as in the 
study of the dramatic instinct; and dramatic instinct can- 
not be studied theoretically, it must be studied practi- 
cally. The dramatic idea implies action, expression. 

The dramatic instinct, as has been said, is primarily 
dependent on imagination and sympathy. In giving 
the words of another, the tendency is to make a quota- 
tion direct, and still further to give the words exactly as 
they were spoken. The dramatic instinct of the human 
heart creates characters and situations and reveals them 
simply and naturally. 

Thus in reading the account of the visit of Christ to 
Simon, the Pharisee, if the reader's imagination and 
sympathy are awake, he becomes a living spectator of 
the scene. He beholds Simon as he "spake within 
himself " ; he sees the sneering look which plainly said, 
" This man if he were a prophet would have perceived 
who and what manner of woman this is that toucheth 
him," and the reader will be tempted to suggest Simon's 
contemptuous sneer. Then he will feel the dignified 
simplicity of the Master and give his words slowly 
and with decided touch, in contrast to Simon's manner. 
Without a proper conception of the character of Simon, 
the key to the situation is lost. 



98 THE MESSAGE 

In Mark x. 17-22 we experience simply a general 
interest in the young man, and the words of Christ. 
But in the clause, " Jesus looking upon him loved him," 
we enter into fuller sympathy with the Master, and a 
tenderness is awakened in our hearts. This is not to 
impersonate, even though the Master's direct words may 
be given. To represent regret at his going away is 
to be simply ourselves. 

In giving the words of the two malefactors (Luke 
xxiii. 39-43) the reference to the first one is negative, 
for our real sympathy is with Christ ; but when the 
other malefactor rebukes the first our sympathy for him 
is awakened, and the quotations and descriptions are 
given directly and with great intensity of feeling. 

Thus, even in impersonation, there is a great difference 
in the degree of sympathy. Dramatic sympathy may 
be directly antithetic to true sympathy. The mockery 
of farce, burlesque, or caricature is often the result of 
antipathy. 

There is, therefore, something more important here 
than impersonation ; namely, the point of view or the 
real genuine sympathy of the reader. This shows itself 
more profoundly even in explanatory clauses. In the 
account of the two thieves, there is a pause and a 
marked change at the words, " but the other answered 
and rebuked him." The tones of the voice show sym- 
pathy with his act. 

In the account of the supper at Emmaus (Luke xxiv. 
31-32), at the words "and they knew him" we neces- 
sarily show joy with them before there is any direct 
impersonation. 

Such explanatory clauses are often more sympathetic 



THE DRAMATIC SPIRIT 99 

and dramatic than quoted words. Although Peter 
declares, " Lord, I am ready to go with thee both to 
prison and to death," deep down in our hearts we doubt 
his confidence and the fulfilment of his promise. So 
we give his words dramatically. Genuine sympathy is 
not shown in this direct quotation ; but at the later 
words, " Peter remembered, and he went out and wept 
bitterly," our real sympathy finds expression. 

Often sympathetic identification with others shows 
itself before the direct quotation. When Christ seeing 
the young man go away on account of his great wealth, 
said, " It is easier for a camel to go through a needle's 
eye than for a rich man to enter the Kingdom of 
Heaven," the disciples were amazed, and we cannot 
help sharing their astonishment. " They were aston- 
ished exceedingly " is spoken with as much feeling as 
the direct quotation, "Who then can be saved?" In 
fact, all direct quotations must be justified by the 
dramatic or epic spirit of such explanatory clauses. 

From all this it will be seen that there are two mani- 
festations of the dramatic spirit : the direct, which shows 
itself in impersonation, and the indirect, which concerns 
descriptions or impressions of events or actions. And 
to the reader of the Bible the indirect is of greater im- 
portance than the direct. In fact, too frequent use of 
the impersonating or direct dramatic spirit will degrade 
the dignity and importance of the Bible. Such degrada- 
tion has been often noted. People have been heard to 
remark that the reading was too dramatic. That is to 
say, there was an exaggeration of the direct dramatic, 
while the indirect dramatic was ignored. 

Public readers as well as readers of the Bible often 

LofC. 



100 THE MESSAGE 

slight descriptive, narrative, or lyric passages. The 
indirect dramatic receives from them no attention what- 
ever. Their whole energy is reserved for direct quota- 
tions. But it cannot be too often impressed upon 
readers of the Bible that on account of the number of 
suggestive descriptions of events or of the indirect dra- 
matic the primary spirit of the Scriptures is epic, and 
their dignity demands attention to this in the simplest 
explanatory clauses. 

In a previous work on Imagination and Dramatic 
Instinct, this has been discussed under the words " Per- 
sonation and Participation." It makes little difference 
what name is used. The dramatic spirit of descriptive 
clauses, the indirect dramatic or dramatic participation, 
can be regarded as epic ; while only the direct dramatic 
may be regarded as dramatic. The two run together in 
such a way, however, that men often give to both the 
term " dramatic instinct." 

Indirect dramatic, or dramatic participation, is never 
imitative. Imitation in the direct dramatic applies only 
to burlesque, farce, and the lowest form of dramatic art. 
Men imitate in caricature. There is less imitation in 
tragedy than in comedy. We identify ourselves in 
spirit with Hamlet himself more than with the way he 
may do this or that. The higher the dramatic art or 
the more intensely dramatic a passage is, the more 
there is of sympathy and the less of imitation. The 
primary spirit of dramatic instinct is not imitation. It 
is assimilation and sympathetic identification. 

In general, the spirit of a passage will lead inevitably 
to the proper emotion. For example, we can hardly 
fail to suggest our feeling, when after the arrest of 



THE DRAMATIC SPIRIT 101 

Christ we read the words, " his disciples forsook him." 
The most artificial reader could not fail here to give 
the words the right feeling. The epic spirit and 
dignity of the whole picture would make the emotion 
genuine. 

But there are many places where there is doubt, and 
one of the most important functions of the dramatic 
instinct is to affirm in such cases the right point of view. 
For example, in the story of Elijah, note the emotions 
we may express when we read the words, " But there was 
no voice nor any that regarded." Shall we give these 
words in sympathy with Elijah and rejoice at the fact? 
Shall we give them in sympathy with the prophets 
and express their despair ? Or shall we give them 
from the point of view of the modern who looks upon 
the prophets of Baal with sorrowful regret, as de- 
luded and misguided men ? Such questions must be 
decided by the reader on the basis of the broadest 
interpretation. 

We cannot impersonate except on the human plane. 
We cannot impersonate God. Whenever we speak His 
words we manifest the emotion awakened in our hearts 
in response to what we hear. The human soul is com- 
plex, — we have a kind of dual consciousness, and part 
of us may be impressed while another part is thinking, 
saying, or doing. In some way, as we repeat the words 
which are spoken by another, we can convey our impres- 
sions of these words. Some persons hardly see how 
we can be both speaker and hearer, actor and spectator, 
but such is the case. In Coleridge's " Mont Blanc " he 
represents the mountain streams, the pine groves, and 
the avalanches as answering, "God." If the reader 



102 THE MESSAGE 

endeavors to impersonate the avalanche, the result will 
be weak. Our voices cannot represent " the perilous 
fall." But if the reader uses his imagination he can 
manifest, when speaking this word, the impression pro- 
duced upon him. 

In undignified moments we impersonate, — for example, 
Elijah, when he mocks the priests of Baal. But even 
in this case there is danger of going too far, and degrad- 
ing the Scriptures. It is best to be suggestive in all 
impersonation, and especially to offset it by more digni- 
fied and sublime art in manifesting the impression pro- 
duced upon us. 

The proper dramatic interpretation of the Bible, 
therefore, requires an imaginative realization of situa- 
tions, events, and actions, as well as characters, a sug- 
gestive manifestation of the emotion awakened. 

Dramatic art is more potent for evil or for good than 
any other form of art known to man. It expresses a 
primary instinct, the sympathetic identification of one 
soul with another. All true growth and progress are 
founded upon man's altruistic intuition. The soul must 
orient and "other" itself or it cannot grow. The 
dramatic interests men because it is on the plane of 
sympathy. Men love their fellow-men and delight in 
action more than anything else, and dramatic art is the 
direct portrayal of life. The dramatic causes all to live 
and move, and leaves every man to judge and moralize 
for himself. Dramatic instinct is the most important 
requisite in all public speaking, and all vocal interpre- 
tation. It makes everything a living reality. There is 
no time but present time. Man has only now. By the 
dramatic instinct he can see men as living beings in 



THE DRAMATIC SPIRIT 103 

the midst of living situations, see abstract ideas and 
thought embodied in human beings. He can feel the 
motives that govern the human soul and the signifi- 
cance of the ideas and events in relation to human 
character. 



XL THE EPIC SPIRIT 

*The highest form of poetry is usually considered to 
be the epic. Tragedy is the only form of human art 
which has been seriously regarded as rising to its 
level. 

The epic cannot be explained by a phrase. To say 
that the dramatic deals with " representation " and the 
epic with " description " while containing a truth is a 
hindrance, not a help, to the appreciation of the high- 
est element in literature. 

<* The epic, in a sense, includes the dramatic ; for the 
epic is also concerned with human character, espe- 
cially in its relation to man's beliefs, ideals, and heroic 
endeavor. The epic has no artificial form for stage 
representation, as may be the case with the dramatic. 
But this peculiarity means little and gives no help to the 
real distinction between the dramatic and the epic. 

All poetry is a revelation of the impressions produced 
upon the human soul. When a man manifests his 
intense personal realizations, he uses the lyric. When 
he represents impressions produced upon another soul, 
when he identifies himself with another's point of view, 
or when he shows the effect of events in revealing the 
motives and character of others, the dramatic spirit is 
found. Jin the epic man compares his own impressions 
with the ideals of the race, and expresses a racial judg- 
ment. The impressions produced upon the individual's 

104 



THE EPIC SPIRIT 



105 



imagination and sympathy are not only true to his 
character but to the ideals of humanity. In dramatic 
art the reader represents another individual; in the 
epic, he represents his race. 

i/The epic spirit expresses impressions which dramatic 
art can hardly touch. How useless the endeavor to 
impersonate God ! What a shock a reader once caused 
by saying " Samuel, Samuel ! " as a farmer would awaken 
a boy in the morning ! The dramatic may impersonate 
only on the plane of the personal and the human, but 
/ there is no plane beyond the possibilities of interpreta- 
tion by the epic spirit. The epic instinct can quote the 
words of Jehovah and suggest His greatness by reveal- 
ing the impression made upon the speaker's own soul 
while sustaining the utmost dignity. 
4 The epic is the climax of all literature, and includes 
all below it. According to Aristotle, the test of great- 
ness "is a higher truth and a higher seriousness." 
These especially characterize the epic. 

There are various degrees of the dramatic. In bur- 
lesque, the actor mocks that with which he identifies 
himself. In farce, he is caricaturing it. Farce may show 
greater sympathy or good nature than burlesque, yet 
the actor still laughs at rather than with men. He is 
exaggerating. He is concerned, besides, rather with 
situations than with character. In comedy, the actor 
laughs with his fellow-men ; in tragedy he weeps with 
them. Tragedy is the highest form of the dramatic, 
because it calls for a higher seriousness, expresses a 
deeper sympathy with suffering, and a higher truth of 
the human soul. In all this there is a gradation of ex- 
perience. The rank rises on account of the degree of 



106 THE MESSAGE 

sympathy. In fact, burlesque and farce are sometimes 
regarded as illegitimate, because they imply no real 
sympathetic identification of one soul with another, and 
hence are hardly to be called dramatic. 

But the epic is higher still. It rises out of the mere 
personal point of view. Its sympathies are broader, 
and belong to the whole race. The soul rises to higher 
truth, and stands in sympathetic contemplation of human 
deeds and endeavors, or the great significance of events. 
It speaks human words truthfully and adequately, but 
not imitatively. The epic spirit reflects and mirrors the 
truth even of human character, but at the same time 
measures it with the highest ideals of the race. The 
epic spirit can deal with events both human and divine, 
and can fulfil the most exalted poetry, in that it can 
express the impressions produced upon a living soul. 

Tragedy is sublime because it deals with man's 
struggle amid human sorrows, the suffering of the 
innocent with the guilty, and the mystery of human 
life and personality. It is great, because it shows so 
much in such a short space of time. Yet notwithstand- 
ing these elements of greatness, the epic is regarded by/ 
the best judges as a higher form of literature. 

Men usually regard the dramatic instinct as a univer- 
sal characteristic of everyday life ; but they are likely 
to think of the epic as something rare, and to be realized 
only a few times in the history of the race. In reality, 
J however, the epic is also found in everyday life. When 
you see some old man acting oddly, you smile; and when 
you speak of it to another, you may dramatically por- 
tray what he said and did. But if you were to see the 
man injured by an electric car, how different would be 



THE EPIC SPIRIT ioy 

your spirit in telling the story. To impersonate him 
and imitate what he did, you would regard as sacri- 
legious. You have a higher sympathy, and express the 
whole race's feeling for a man in such circumstances. 
When any one tells of some old mother, heartbroken 
over some terrible news, he takes his shoes from off 
his feet, for he feels that the ground on which he 
stands is holy. In such cases the speaker rises uncon- 
sciously into the epic plane. 

Besides, the epic spirit is often present even in 
dramatic impersonations. Edwin Booth in " Hamlet," 
Salvini in " Saul," Irving in " Dr. Primrose," consciously 
or unconsciously rose to the dignity of the epic. In 
the best dramatic art the true artist rises higher than 
mere representation and sympathetic participation in 
the scene, and expresses what is universal and typical. 

Does not this explain why readers of the Scripture, 
even in dramatic passages, instinctively refrain from 
impersonation, especially of the most dignified char- 
acters ? Even in undignified scenes, as where Elijah is 
mocking the priests of Baal, " Cry aloud, for he is a 
god" (i Kings xviii. 27), where there is undoubted sar- 
casm, the reader softens the dramatic elements, or at 
any rate gives the next clause, "and they cried aloud," 
with true regret and realization from the higher point of 
view of the race. In all reading of the Scripture, the 
epic transcends the dramatic ; where this is not the case, 
the most ignorant man in the congregation will feel 
there is something wrong. An entirely different im- 
pression is made by a reader of a Bible story who has 
some conception of its dignity, and does not exaggerate 
the dramatic quotations, but accentuates rather those 



108 THE MESSAGE 

clauses which enable him to express the impression 
which scenes, events, or actions make upon him as 
a spectator. In giving such impressions he becomes 
a true representative of his race. Even in the case of 
Elijah, the reader does not give himself up completely 
to the portrayal of the character of the prophet, which 
is the primary aim of the dramatic, but holds himself in 
reserve, and only suggests Elijah's indignation towards 
the misleaders of his people, and emphasizes the epic 
point of view in such words as, " Then the fire of the 
Lord fell," thus making these descriptions of events the 
great centres of interest. After the mocking speech of 
the prophet, the reader adopts a point of view the 
highest possible to the race, and says with sympathy 
and regret : " And they cried aloud, and cut themselves 
with lances, till the blood gushed out upon them." The 
next point the reader gives with narrative spirit, but 
colors with sorrow and pity the words, " But there was 
no voice, nor any that regarded." 

4 The whole story of Elijah forms a good illustration of 
the epic spirit. His heroic and weird intensity, his pas- 
sion and earnestness, all partake of the epic spirit. He 
has been the type of the reformer and the prophet in 
every age. 

But still more than the character of Elijah the events 
are epic, and the reader must show the impression 
which every event makes upon him. Decidedly dra- 
matic as the scenes and characters in the story may 
appear, the reader must be himself; he must realize 
every situation as a sympathetic spectator and reveal his 
own impressions. 

Such illustrations as these show us that the most 



THE EPIC SPIRIT 109 

dramatic passages in the Bible are in direct connection 
with the epic spirit. Even the dramatic itself, if used 
in dignified narration, must be justified by the epic 
spirit of simple descriptive or narrative clauses. The 
dramatic calls for representation in giving quotations, 
but the reader must express his own point of view. If 
dramatic personation is given at the expense of dramatic 
participation, the noble spirit of the passage is degraded. 

In the 9th of John, when we describe the act of the 
Pharisees who cast out by force (v. 34) the man whose 
eyes had been opened, we are justified in dramatically 
representing their spirit; but the next clause (v. 35), 
" Jesus heard that they had cast him out," must be 
given the epic spirit in direct opposition. These words 
must be read with a slower movement on a lower pitch, 
with deep intensity and wonder at the Master's tender- 
ness. From the dramatic point of view this clause 
would be slighted ; at any rate, the false dramatic which 
deals only with quotations would entirely overlook it or 
give it as a matter of course. But the true harmonious 
movement of the story, in short, its epic spirit, demands 
that this reference to the Master's finding the dis- 
couraged outcast should be given the greatest emphasis. 
This clause must be given such epic dignity as to 
transcend the abnormal and antagonistic utterances of 
the Pharisees. In the dignified rendering of noble 
stories it may be stated as a law that the epic must / 
transcend the dramatic. 

Observe again, from this point of view, the story of 
the rebuke which Nathan gave to David (2 Sam. xii. 
1-14; see p. 75). Nathan would give his imagined 
story in a neutral, narrative manner. The reader is 



1 10 THE MESSAGE 

irresistibly led on to a dramatic interpretation of David's 
anger. Cases like this, where the real sympathy is not 
with the character whose words we are quoting, require 
the dramatic spirit. The dramatic is objective, and rep- 
resents the facts in the case just as they are. Such 
objective truthfulness here is a necessary part of the 
story. But in the last clause, when Nathan says to 
David, "Thou art the man," the reader passes into a 
totally different spirit. With slow movement, low pitch, 
and an intense texture of voice, he expresses his feeling 
of regret. Notice also that in this last clause, we do not 
dramatically impersonate Nathan, as we do David. The 
reader gives what may be called an epic impersonation ; 
he does not regard the manner in which Nathan gave his 
speech, but interprets rather his deep regret for the 
king, pity for his downfall as well as indignation for the 
sin, in speaking the words, "Thou art the man!" In 
such a clause, our thought centres on David rather than 
on Nathan. We feel the condemnation which awakens 
in David's own soul. We have no feeling of anger or 
resentment. The appeal is to David's conscience and 
his higher nature. The truth must be spoken as coming 
from above, not from any personal point of view. For 
this reason there should be a long pause after "Thou," 
to gather up and intensify our sense of David's down- 
fall, and our awe at Divine justice. The representation 
is rather that of the universal human spirit, or the spirit 
of right and truth. The reader is as much himself as he 
is Nathan. His emotion of regret and awe is his own, 
because he is in the racial, or epic, point of view. 

As another illustration, note the story of the Temp- 
tation (Luke iv. I— 1 5). Here we contrast the character 



THE EPIC SPIRIT III 

of the devil with the character of Christ. We dramati- 
cally portray Satan, for we must necessarily show our 
lack of sympathy for him, and yet must truthfully show 
his character and words. A Scripture promise is quoted 
by him for an evil purpose, and the reader does not 
approve of it. To give it, as is often done, with ap- 
proval, totally perverts the meaning. But in giving the 
words of the Master, the reader maintains the most 
sympathetic attitude ; so sympathetic that he does not 
think of his mere manner. His point of view is deeper, 
broader, more racial. In fact, the attitude toward Satan 
is dramatic, toward the Master, epic. One is dramatic 
personation, the other is epic realization. In the last 
verse, which must be decidedly epic, we express tender- 
ness and dignity. If the reader observe himself, he 
will find that he instinctively gives these words more 
like the words of the Master. The great contrast is 
between the words of the devil and those of Jesus. 

The over-emphasis of the dramatic element in all vo- 
cal expression has caused readers to fail to distinguish 
between dramatic and epic sympathy. In telling a 
story in everyday life, as well as in rendering the high- 
est literature, we are compelled to quote accurately ; 
that is, to give an objectively truthful narration of the 
facts, without expressing our own personal sympathy. 
In fact, men are more apt to adopt the dramatic point 
of view in mischief or sarcasm, or wherever there is a 
lack of genuine personal sympathy. The epic, on the v 
contrary, demands the expression of sympathy in its 
highest and truest sense. From this we see that the 
dramatic is lower than the epic, and is necessarily 
included in it. In a dialogue like this between the 



112 THE MESSAGE 

devil and Jesus, it is the prevalence of the epic spirit 
which causes the words of Jesus to be given with sym- 
pathetic awe. As has already been shown, we can quote 
the words of another, and not represent his manner, but 
convey our own impressions as if we were hearers and 
express the feelings that are awakened in us by his 
thought or even manner. 

The universal misconception of the epic spirit is sur- 
prising. Readers are always striving for the dramatic, 
as if that were the acme of human expression. I once 
complimented a public reader for what I called the lyric 
power shown, which seemed to me rare in our public 
reading and of great importance. She was actually 
offended, and said: "I am dramatic, not lyric. Lyric is 
weak and will not succeed with the world. Your criti- 
cism is most unjust." But if we rarely find a public 
reader who has a proper conception of the lyric, still 
more rarely do we find one who realizes the epic spirit. 
We are told in the Life of Mrs. Siddons, that at eight 
years of age she delighted to read aloud from " Para- 
dise Lost," and it was her lifelong ambition, though 
never realized, to read Milton in public. I venture to 
assert that it was this exalted conception, this long 
dwelling on the epic spirit and effort to grasp epic situ- 
ations, that made her the queen of tragedy. 

Even readers of the Bible unconsciously make the 
dramatic rather than the epic the standard. Nearly all 
elocutionary training centres in the dramatic. Possibly 
this is natural, because the dramatic is more easily 
understood on account of its being on a lower and per- 
sonal plane, but the interpreter of the highest litera- [/ 
ture, especially the interpreter of the Bible, if he would 



THE EPIC SPIRIT 113 

adequately present the great message, must realize the 
epic spirit. 

It may be helpful to some, in treating of the epic, to 
contrast it also with the narrative or descriptive. 

In Exodus hi., the fact that Moses was keeping the 
flocks of Jethro his father-in-law is a simple statement 
without significance. But after a few clauses we pass 
to something higher. There is a far more spiritual 
suggestiveness, and when the voice out of the burning 
bush speaks to Moses, and the ineffable name is given, 
all becomes intensely epic. In nearly all the stories 
of the New Testament the beginning is simply narra- 
tive. In the story of Lazarus (Luke xvi. 19-31) 
the reference to his lying at the gate of the rich 
man awakens the ordinary sympathy with human 
suffering ; but the reader gradually rises into a higher 
phase of the dramatic and later into the epic spirit, 
which reaches its climax of wonder at the words, 
" If they hear not Moses and the prophets, neither 
will they hear though one rose from the dead." Here 
the dramatic spirit is not possible. Mere narration is 
out of place. The profound sense of awe in the heart 
of every true reader rises to epic dignity. A frequent 
contrast is found between the simple, colloquial introduc- 
tions to miracles or parables and the sublime applica- 
tions or climaxes of the illustrations or descriptions, 
which give the significance of the events. 

With the epic spirit in the Bible as elsewhere, lyric, 
dramatic, narrative, and didactic elements are always 
united. The epic spirit is simple, appearing in frag- 
ments, in specific sentences or clauses ; and the reader 
must be sensitively alive to the greater dignity, to the 



114 THE MESSAGE 

wider spiritual significance, of such phrases. In general 
the more dignified a passage the greater the predomi- 
nance of the epic spirit. 

\i In the vocal expression of the epic, there are an unusual 
accentuation of pause, movement, intensity of touch, and 
all the elements of rhythm ; an intenser color of the 
voice, and a higher union of all the expressive modula- 
tions, as there are a higher harmony and sympathy. 

The reader of the Bible must be careful not to form 
the opinion that the epic is so exalted and dignified 
that it is inflexible and monotonous, and eliminates the 
usual elements of expression. The opposite is true. 
\lThe more epic a passage, the more abrupt and intense 
the transitions, the greater the changes of pitch, the 
longer the inflections, and the more significant the 
pauses. Every modulation is to be accentuated and 
none eliminated. 

The reader of the Bible must avoid the temptation of 
giving even the words of Christ monotonously or even 
all alike. The more noble the expression, the more dig- 
nified the thought, the more intense and more sublime 
will be the changes in feeling. Especially will there 
be greater changes in the rhythmic pulsations of the 
voice. It is an impressive lesson to arrange side by 
side many different emotions which are expressed in the 
utterances of the Master. What regret is in His words, 
" How often would I have gathered your children to- 
gether as a hen gathers her brood under Her own 
wings!" What approval in "Go in peace!" What 
sorrow in " O Jerusalem, Jerusalem ! " What sarcasm 
in " Go tell that fox ! " What indignation in " Ye off- 
spring of vipers ! " What tender sympathy in " Woman, 



THE EPIC SPIRIT 115 

behold thy son ! " What sorrow and pity in " The cock 
shall not crow before thou shalt deny me thrice ! " What 
a confidence in " I, if I be lifted up, will draw all men 
unto me ! " What solemn warning and regret in His 
" Beware ! " What persuasion in His " Come unto me 
all ye that labor and are heavy laden ! " What wonder 
and admiration in " I have not found so great faith, no, 
not in Israel ! " What infinite love in " Father, forgive 
them, they know not what they do ! " 

We may find an illustration of the epic spirit in any 
Bible story to which we may open. In the dramatic 
rebuke which Elisha administers to Gehazi (2 Kings 
v. 25-27) the earnest reader identifies himself sympa- 
thetically with the attitude of the prophet. Elisha's 
indignation that the great lesson which he had intended 
to convey to one of the great leaders of the world had 
been vitiated by the selfishness of his servant, leads the 
reader to a dramatic point of view. But this must be 
only temporary. The real impression is given later. 
As we contemplate the doom which follows the ser- 
vant's wrong-doing, after a long pause and change to 
a lower key and slower, stronger movement, we should 
render the final remark with intense regret and epic 
dignity, " And he went out from his presence a leper, 
white as snow ! " 

Take another illustration, the story of the destruction 
of Sodom (Gen. xviii. 22-xix. 29). Abraham's real 
desire is to save Lot ; but in his prayer he pleads for 
the city as a whole and founds his prayer on the Divine 
justice to "the righteous that are therein." When the 
request is narrowed down to ten, he can go no farther 
in his petition. His faith can ask no more, for he feels 



Il6 THE MESSAGE 

sure that in all that city there must be ten good men. 
Omitting verse 5 (xix.) the reader can bring out certain 
epic elements in the story and give unity to the whole by 
making a long pause after the events are given. Then 
let him slowly and suggestively read verse 29, " And it 
came to pass that God remembered Abraham ! " In 
this way the reader emphasizes the fact that Abraham's 
prayer was really answered, that the Divine hand was 
behind all of the events, and so the whole story is lifted 
to an epic level. 

n The epic must be revealed in the spirit, not in the 
letter. Explanation and definition are inadequate be- 
cause as a form of art the epic can only be explained 
by art. Without the epic instinct, the vocal interpreta- 
tion of the highest literature is impossible. The epic 
brings the dramatic, the lyric, and all other elements 
into a higher unity. With our dramatic imagination we 
appropriate the experience of men, and enter into dif- 
ferent points of view ; but in epic poetry we come to 
a higher realization, the realization of ourselves and of 
the race. To be one's self, and to express it, is the cli- 
max of vocal expression. To apprehend the universal 
in the individual soul is the highest aim of human art. 
No man can rightly read the Bible without being truly 
and genuinely himself. He must rise higher than the 
dramatic impersonation of his fellow-men ; he must sug- 
gest rather than represent what they think and feel ; he 
must himself stand face to face with the eternal purposes 
and measure by these the significance of the smallest 
event he narrates, and by his voice express simply and 
sincerely the impressions made upon his receptive soul. 



XII. THE ART OF THE MASTER 

Art is a universal element in human nature, and 
necessary to human development and progress. " With- 
out art," says William Winter, "each of us would be 
alone." Language on the plane of prose can convey 
mere commonplace truths or facts. To express the 
deeper relations, to answer the higher demands of man, 
require some form of art. The soul's questions, it has 
been well said, cannot be answered with mere words ; 
a " question of fact can be answered only with things." 

A proof of the universal and necessary function of 
art is shown by the circumstances that the Master him- 
self was compelled to employ it. Many were surprised 
that He spoke truth in parables ; but He explained His 
reason to be "the hardness of the heart." His message 
was too subtle to be presented directly on the common- 
place plane. Truth is so spiritual that it can only be 
intimated. Hence the necessity of an art form to create 
conditions favorable to its reception. 

Art is not a sign-board on the one hand, nor a puzzle 
on the other. If it is a finger-board, it points toward 
the infinite and the eternal, and cannot be read at a 
glance. It appeals to that which is deeper than the 
eye. It is not a mere lesson that can be conveyed 
directly to the intellect and be understood at once. 
It is a road mounting to a higher plane that must be 

117 



Il8 THE MESSAGE 

travelled. It never pleases on the lower plane. In 
proportion as it attempts it, it is not art. 

The profounder the truth to be conveyed, the more 
is an artistic medium necessary ; for any one can see 
that mere words or language on the commonplace plane 
can suggest only a new combination of old conceptions. 
Emerson has shown in his essay on " Poetry and the 
Imagination " that the imaginative creations or the 
poetic faculty are the first means enabling men to re- 
gard things as significant, and to turn their attention 
from the material terminus of the universe toward the 
central Spirit. It is imagination which enables us to 
look through appearances to the spiritual cause. 

We find further, that the artistic method is more 
necessary in proportion to the misconceptions and preju- 
dices of those to whom the truth is uttered. Where 
men look at mere facts and think they understand them, 
art is necessary to awaken them to a sense of their 
misconceptions of spirit. Prose and the commonplace 
deal with the letter ; it is the imaginative and the poetic 
which put us on the path to the appreciation of the 
spirit. 

A deeper, more artistic, rather than theological study 
of the manner of the Master would be of infinite value 
to us. His parables possess all the characteristics of a 
work of art ; they are full of dramatic and epic elements, 
have in them story, pictures, situation, and clearly drawn 
characters. Thought, reflection, emotion, and moral ap- 
plication are all combined in living unity. Their spir- 
itual and moral uses do not detract from their artistic 
value. 

As the parable appeals to and awakens the entire 



THE ART OF THE MASTER 119 

nature of the man, the harmonious unity, the coordina- 
tion of elements which belong to all art, are needed to 
interpret it. Misinterpretations of the parables have 
resulted chiefly from regarding merely one aspect, 
one sentence, or one clause apart from its connec- 
tion. This violates the laws of all interpretation. By 
taking proof-texts isolated from the context, the Scrip- 
tures can be made to prove anything. The Master has 
embodied the truth in an artistic form so that not only 
misconceptions or perversions may be prevented or cor- 
rected, but also that the contemplating spirit may gradu- 
ally arrive at the deeper meaning of the teaching. 

In the interpretation, therefore, of a parable by the 
voice everything must harmonize with one situation 
and central idea. A work of art is an organic unity. 
As in an organism all parts must be coordinated and 
act in unity, so in the parable as in any other work of 
art, an emphasis which destroys the artistic unity is 
wrong. According to Delsarte we can test the adequacy 
of any expression by exaggeration (see p. 322). If the 
accentuation of any element emphasizes the completeness 
of a parable and makes it more impressive, the true centre 
has been found and exaggeration will only show increase 
of power. But if the interpretation be one-sided, exaggera- 
tion will show disproportion and prove the interpretation 
to be wrong. 

All art is the expression of life, a creation in obe- 
dience to the laws of nature. The primary law of life 
is from a centre outward. Any interpretation which 
makes a part of a parable appear mechanical or strained 
violates the law of life, which is the supreme law of 
art. The vocal interpretation of the parable must 



120 THE MESSAGE 

suggest a living centre about which all parts radiate. 
A parable is not abstract. The characters live so as to 
touch men on the plane of real life. It is like a picture ; 
every part must be felt at once, or its meaning will be 
warped. 

The art of the Master suggests to us another topic. 
What were the characteristics of His delivery ? How 
did He himself speak one of His own parables ? What 
were the characteristics of the delivery of the Sermon 
on the Mount ? In this matter we are not left wholly to 
conjecture. We have a few references at least which 
allude to His delivery. At the close of the Sermon on 
the Mount, it is said by the writer, "The multitudes 
were astonished at his teaching." The word " teach- 
ing " was formerly translated "doctrine," as if referring 
to the substance of what He said. But that the writer 
referred to His delivery is shown by the words that 
follow, " for he taught them as one having authority 
and not as the scribes." His unaffected sincerity and 
earnestness showed Him to be one who spoke with the 
authority of personal experience. He spoke what He 
knew, what He felt and realized. This is the only 
authority in expression. 

There are many references to the effect of His man- 
ner. Before His majestic bearing the Roman soldiers, 
when they came into the garden to arrest Him, fell back. 
We find often in the Gospels such remarks as " Never 
man spake like this man," "They were all amazed," or 
"They were astonished at his teaching." The Greek 
word means the act of teaching and must refer to 
manner as well as matter. 

But more than this, we have a reference even to the 



THE ART OF THE MASTER 121 

very subject of this book, the impression produced upon 
a congregation by His reading of the Scriptures. We 
are told, " The eyes of all in the synagogue were fast- 
ened upon him." And again, "All bare him witness 
and wondered at the words of grace that proceeded out 
of his mouth." These words must refer partly to the 
manner of His reading, for what He said in exposition of 
the reading caused a total change : " They were all filled 
with wrath." 

To one who will gather up the fragments, a picture of 
the manner or expression of the Master can be formed 
by the imagination. That nearly all have some ideal of 
His marvellous manner is shown by the fact that rarely is 
a Bible reader so lost to epic instinct as not to interpret 
the Master's words with dignity and impressiveness. 
The inflections are straight, the touch more definite, the 
changes of pitch more regular, the pauses longer, and 
the movement slower. 

All the principles of Bible reading may be summarized 
in the interpretation of the art of the Master as illus- 
trated by that gem of all the parables, the miscalled 
" Parable of the Prodigal Son." This title is poor be- 
cause it directs all attention and blame to the younger 
brother ; but the older brother never repented, and his 
attitude toward the father was as bad or worse. 

This parable is full of dramatic elements and reaches 
the dignity of the sublimest epic. 

Much ingenuity has been shown in explaining certain 
parts of the parable, but ingenuity is dangerous in art. 
The greatest art is simple, and this, the sublimest of all 
works of art, is preeminently so. We must accept the 
story and characters as genuine, imaginative creations. 



122 THE MESSAGE 

This is not an allegory ; it is a drama of human life. It 
is more than dramatic. It brings us to the realization 
of two types of men and God's attitude toward them. 
There are two ways of becoming a sinner, — by exuber- 
ance, the fault of the younger brother, and by repres- 
sion, the fault of the elder; but infinite love forgives 
both. 

The word "sons," though a centre of attention, must 
not be given too great accentuation, as that might imply 
the existence of daughters. To give emphasis to the 
word " man " would imply that some beast had two 
sons. Such a simple narrative requires no unusual 
emphasis ; all the centres of attention should be shown 
harmoniously by rhythmic accentuation, inflection, and 
touch, but should not suggest antithesis. Undue length- 
ening of an inflection especially suggests an antithesis, 
expressed or implied. " Younger " requires accent to 
direct attention, as the centre of the first half of the 
story. The Greek word is out of its regular place, and 
hints at emphasis. " Portion of goods" is a new idea. 
The falling inflection on " divided " indicates simply 
that the father complied with the request, but there 
may be also an accentuation of the idea of "living." 
Was the younger brother antagonistic ? Can the reader 
give a delicate hint of his self-confidence ? Certainly 
the father's answer should be colored with regret. He 
already realizes the son's mistake. The father's un- 
changing love is the sublime centre of the parable, and 
is, of course, epic. 

We have (v. 13) a natural sequence of events, the 
mind being successively concentrated on "together," 
"the journey," and especially the "far country," and 



THE ART OF THE MASTER 123 

the pause and change in movement suggest that far 
country which is only in the soul. 

In the next clause the chief attention is given to 
" wasted " with a deeper coloring and slower movement 
and with climax on "riotous living." A slight coloring 
of regret may be shown on " wasted" or of condemna- 
tion on "riotous living," but extreme and frequent 
changes are apt to cause chaos in noble art. The emo- 
tions begin now to be more defined ; not mere facts are 
expressed but strong impressions. 

There are various ways of reading the next clause, — 
possibly the best is to give it very slowly. The word 
"famine" needs a long pause after it. It needs to be 
apprehended, the impression of it taken home, and the 
rest subordinated. There should especially be no em- 
phasis on "that" or "land." The famine was not 
literal as in any land — it was worse than a famine of 
the body. In this account, should there be sympathy 
or indignation ? The epic dignity and central lesson of 
the whole are better emphasized by expressing regret. 
Reproach can be best given in that way. The reader 
of the Scripture is not a judge ; he is sent not to con- 
demn but to proclaim a message from one who said 
that he came that the world might be saved. 

" And he began to be in want " should be read with 
a long pause after " began," with deep feeling, strong 
touch, long inflections, pauses, and slow movement. 
The word "want " should be contrasted with his former 
abundance and wealth. The slowness of movement 
shows the depth and significance of his condition. 
" Citizen " introduces a new character and a new stage 
in the story, but this is not of great importance. The 



124 THE MESSAGE 

word " swine " more than anything else shows the 
climax of degradation ; if we remember the Jews' con- 
tempt for pigs, which were considered unclean, we can 
realize a still greater antithesis to his former luxury. 
There should be a pause before and after " swine." 
The word " husks " should be followed by a pause, in 
order to indicate strong feeling. Renewed emphasis on 
" swine " may possibly suggest that he envied them their 
food. " No man gave unto him " marks the climax of his 
isolation and fall. No one gave even enough thought to 
him to afford him that ministry. This clause should be 
read very slowly and sympathetically. The epic spirit 
and unity of the whole story demand that we feel for 
his desertion. The story so far is perfectly human ; the 
result is something to be deplored rather than to be 
condemned. It is our own spiritual case that is being 
described. We can express the dignity of the Divine 
only by being perfectly human in our sympathy. 

" And when he came to himself" should be read 
slowly. Himself, the first word in the Greek, should 
be strongly accentuated. Sin is a violation of the 
divine order, and in coming to himself, he came to a 
realization of his condition, to the meaning of his life 
and of his departure from his birthright privileges. 

In the phrase " hired servants " some readers accent 
the word " hired." Did he wish to become a servant 
of the lowest class, hired only occasionally, having no 
permanent home with his father ? Did he mean, " How 
many of my father's meanest servants have bread enough 
and to spare ? " Possibly we might translate, " How 
many hirelings of my father," a hireling being lower 
than a servant. In the quotations from the younger 



THE ART OF THE MASTER 1 25 

brother, the reader must not literally impersonate, but 
dramatically participate in the situation, or rather epi- 
cally realize his own experiences. " I " is emphatic. 
Note the force of a pause after it. It expresses sur- 
prise at his own conduct. It shows an awakening real- 
ization of his condition, the very opposite of egotism or 
selfish calculation. " Perish " should also be forcibly 
accentuated. 

The tones of the voice must give the spirit ; the spirit, 
not the letter, gives dignity. " I will arise and go to 
my father" should be read slowly, with each point 
strongly accentuated. Those at home were the last 
ones the ragged outcast wanted to meet. What could 
be more humiliating to his pride ? His confession is 
subjective and intense. "Sinned" is the key-word. 
Some quibble about his repentance after he had gone 
to the extreme. His "coming to himself," however, 
implies that his repentance was genuine. " Heaven " 
and "thee" both require strong touch and inflection, 
to show that his repentance was sincere and all-sided. 
The movement and color of the voice should indicate 
the heavy load upon his mind, and should suggest that 
he took the only step a soul should take. " Hired ser- 
vants " should again be accentuated, in order to express 
his humility and willingness to take the lowest place. 
There was not the slightest thought or dream of the 
welcome that awaited him. Notice the fine antithesis 
between "son " and "servants." 

" He arose and came to his father " should be read 
very slowly, the rhythm strongly accentuated, a pause 
after every accentuated touch or centre of attention. 

The word "but" is one of the greatest words in 



126 THE MESSAGE 

delivery. It plays an important role in the parables. It 
always indicates a change in emotion or situation. Here 
it indicates a species of surprise. "A great way off " 
has the precedence in the Greek, and should be accentu- 
ated strongly by inflection, pause, and color. " Father " 
is implied, not emphatic. The parable is not about 
one son but about two sons ; yet still more is it a parable 
of a loving father who treated both boys with equal 
tenderness. The actions of the father must be given 
with great epic dignity, but there must be a certain 
color resulting from the joy and love that dominated 
him. 

The son's speech to the father, given with great feel- 
ing, was not completed. There should be a rising in- 
flection on " son," to indicate this incompleteness. In 
the Greek, the words "father" and " son " are brought 
into close antithesis, implying an interruption which 
cannot be translated into English, but the spirit of 
which can be expressed by the voice. In giving the 
confession he would be more excited than when he 
first made his resolution. There must be no whine; 
all modulations of the voice must indicate great depth 
of feeling. " Servants," in the next verse, possibly has 
some slight accentuation, but the strongest attention 
should be directed to the unexpected words "robe," 
" ring," and " shoes." The mere words, however, are 
of little consequence; excitement, joy, and intense love 
should permeate all. We should be careful about ac- 
centuating "hand" or "feet," as these are the natural 
places for the ring and shoes. The "fatted calf" and 
"eat and be merry" show a progression of acts, and 
should be touched saliently and pointedly. Then with 



THE ART OF THE MASTER 127 

deeper feeling and love, " This my son was dead, and 
is alive again." The antithesis should be strong but not 
intellectual. His love is deep and sacred, and there is 
epic dignity in the expression of his feeling at the wan- 
derer's return. " Kissed " is emphatic in the Greek, 
implying love and tenderness as well as pardon. 

The clause, " They began to be merry," should be 
spoken slowly ; the father's long waiting is ended, and 
the whole household shares in the joy. Note the repe- 
tition of " began." Everything is but a beginning in 
relation to human character. 

A total change in color and movement and method 
of emphasis now ensues. The intellectual and melodic 
elements of inflection and change of pitch should be 
made salient, the better to indicate the new aspect of 
the story. The emphasis is upon "elder" and " field," 
which should be strongly inflected, with a slight pause 
after them, to indicate the change in situation, and the 
reason also for what follows. 

We must realize the elder son's point of view, and 
give " music and dancing" with a suggestion of the 
surprise and wonder which he would naturally feel. 
We must, however, not anticipate his antagonism. 
Events must be presented only as they happen. All 
art, and this especially applies to reading, lives in 
the present. "Servants" is slightly accentuated to 
indicate our surprise that he should not rush at once 
to share his father's joy. Is there not here a deli- 
cate hint that he also is in "a far country," "in the 
field," in a double sense? The reader must not, how- 
ever, express extreme astonishment at the elder brother's 
conduct. As a sympathetic spectator he begins to have 



128 THE MESSAGE 

a suspicion and dread, but must not anticipate so far as 
to condemn. 

What emotion dominated the servant in giving the 
information? It must have been joy. He says, "thy 
brother." The point of this part of the story is the 
elder brother's unnaturalness, which is accentuated in 
order to show the unnaturalness of the scribes and 
Pharisees. The story demands his isolation. He is 
the only one who does not welcome home the repent- 
ant sinner. There should, therefore, be a delicate dra- 
matic hint of the servant's joy. We must realize the 
importance of what we may call dramatic exegesis. 
Passage after passage in the parables and elsewhere 
can be found where there is no verbal method of de- 
termining questions of vocal interpretation. There 
must be most faithful study of critical comment to 
obtain the point of view ; but after all that criticism 
can give us has been found, then the dramatic and 
epic instincts must have their voice. Each art has 
its own plane of truth, and reveals what no other art 
can ever say. "And he was angry" brings us to an 
important epic climax. This must not be given as 
mere description ; the reader must reveal his impres- 
sions, surprise, and disappointment at the fact. The 
rendering of the parable demands that the reader 
shall be himself, that he shall be an interested spec- 
tator, and every event described must be given as a 
vivid impression on his living soul. The clause must 
be read slowly, and must express our sorrow at his 
inhumanity. A shock is shown by silence, and silence 
follows here the word "and," also the word "angry." 
There must be a complete break in the rhythm and 



THE ART OF THE MASTER 1 29 

color. In fact, every vocal modulation must be con- 
trasted with all that precedes in the parable. 

In the next clause, " And would not go in," there may- 
be some indication of his spirit rather than the reader's 
own feeling about it. It may be given with a little in- 
dignation. The movement should increase or decrease. 
Everything must be given from the human point of 
view. We find here one who sinned by repression. 
The man who crushes out all his nobler impulses till he 
is angry when his lost brother has come home, who has 
no welcome, but on the contrary anger and antagonism, 
is one who has perverted the very foundations of his 
nature. There is no doubt, at any rate, which of these 
two classes the Master meant to condemn, and which 
He intended to encourage. It was His message of hope 
to the downtrodden and despised, those who through 
sin had been brought to want, and His condemnation of 
the murmuring, respectable members of society who 
were sneering and saying he receives the unwashed and 
" eateth with them." 

Now we come to the heart of the parable, " His father 
came out and entreated him." This should be given 
with great tenderness, for the father had the same atti- 
tude of tenderness toward the second son as toward the 
first. The father, it must be remembered, is the centre 
of the parable. The loss of the true point of view, or 
perspective, is a sad example of Biblical misinterpretation. 

In the answer of the elder brother to his father, we 
come into direct dramatic realization of his spirit. Here 
there must be a suggestion of personation, or represen- 
tation. In the descriptive clauses, we may give either 
our own feeling or the elder brother's. There is an 

K 



130 THE MESSAGE 

opportunity for dramatic participation or the epic spirit 
in these clauses, and we may choose our own point of 
view. His anger, however, must be treated with dig- 
nity. The epic spirit of the story requires us to be 
surprised at his course, and this surprise must affect 
even the manner of quoting his words. He must not be 
imitated nor completely represented. Still his spirit and 
feeling must be truthfully and dramatically suggested. 
The elder brother would no doubt emphasize " years." 
He would especially emphasize " kid " as not so valuable 
as calf. The word " my " may have something of em- 
phasis ; though there is some doubt of his having any 
friends of the genuine type, as the coldness of his heart 
would repel rather than attract all except a few who 
sought favors. He does not speak the word " brother." 
" Thy son " indicates a sneer. He could have hinted no 
worse insult. A sarcastic, staccato accent on " harlots," 
"him," and "calf" indicates antitheses. The movement 
and color should indicate his anger. 

At verse 31 there must be long pauses, great change 
in movement, color, and a lower key to suggest the dig- 
nified bearing and love of the Father. In the last 
verses the epic spirit must directly oppose the dramatic 
character and lack of dignity in the speech of the elder 
brother. The father's nobility and the elder brother's 
meanness are strongly contrasted. " Son " in the origi- 
nal is a term of endearment, "my boy," "my child," 
and is indicative of great tenderness. The father's 
speech must be given with sympathy and control of 
breath, and very slowly; subjectively, too, for he is talk- 
ing to us and stating an absolute truth for every soul. 
The word " ever " is very emphatic, and requires a long 
pause after it. 



THE ART OF THE MASTER 131 

The phrase " thy brother " should have a peculiar 
sympathetic emphasis with a pause after it as a gentle 
reminder, but it should not detract from the great em- 
phasis on "dead" and " alive again," "lost" and 
"found." The whole speech must have great intensity 
and dignity in color, texture, and movement. The 
Master evidently meant that the welcome to one, and 
tender appeal to the other, should both show the love of 
the infinite Father. 

The parable is often strained. Some go so far as to 
say that the father had no right to take anything from 
the elder brother's portion and give it to the younger. 
This makes the figure " go on all fours," and loses com- 
pletely the point of the parable. All the gifts of God 
belong to every soul who will receive them. 

To render this parable requires an appreciation of 
both the epic and the dramatic spirit. It demands also 
all the possibilities of the voice. Every modulation is 
needed. It must be read very slowly, and there must 
be frequent pauses. There must be constant change of 
pitch and, at certain points in the parable, the transi- 
tions must be very extreme and decided. The differ- 
ent emotions must be accentuated. The spirit of the 
younger brother's repentance and of the elder brother's 
antagonism and of the father's love for both must be 
shown. The expression of each character should be 
definite and true, but should be presented in the epic 
spirit, rather than in the descriptive, narrative, or dra- 
matic. The reader's realization must be behind every- 
thing. Every event must be given the sublimest and 
most typical character possible. 

This story may be regarded as the noblest work of art 



132 THE MESSAGE 

in the world. It reveals the sublimest truths in the 
simplest way. It suggests the infinite love of the 
Eternal Father and His attitude toward the two kinds 
of perversion among His children, and appeals to the 
profoundest depths of the human soul. 

The reading of the Scriptures must never be perfunc- 
tory or merely formal. It should not be a mere authori- 
tative presentation of facts or proclamation of words. 
It is a revelation of the deepest life of the soul. The 
reader must live his ideas at the time of utterance. He 
can never be neutral or negative, or merely a mouth- 
piece. Truth is potent in proportion as it is lived, and 
vocal expression, more than all other modes of expres- 
sion, is the revelation of the present. It can never be 
recorded, because it is the living manifestation of the 
life of the instant. The reader, when presenting the 
words of the Infinite, can only reflect them from his 
own soul. He can manifest to others the impressions 
made upon his being. But when one soul is made to 
feel that another soul is hearing a message from the 
King of kings, he too bows his head and hears the voice 
of the Infinite speaking in his own breast. 



XIII. LITERARY SPIRIT AND VOCAL 
EXPRESSION 

These literary forms are not artificial inventions, but 
are unfolded from the human spirit as naturally as the 
flower from the plant. The mode of expression in each 
form is primarily determined by the spirit that causes 
it, and is necessary from the nature of human imagi- 
nation and feeling. 

Another determining factor is the nature of the sub- 
ject. One theme is necessarily didactic ; another narra- 
tive ; another lyric or epic. Still another element is 
the relation of the speaker to his audience or to his pur- 
pose. If a man is trying to rouse or move his fellow- 
men, to persuade them to a higher course of action, he 
is necessarily oratoric. If he is endeavoring to portray 
the character of his fellow-men, to represent with objec- 
tive truthfulness human action, feeling, or character, 
he must necessarily be dramatic. If he is dealing with 
a truth with which his audience is unfamiliar, against 
which they are prejudiced or for which they have no 
preparatory experience, he must use illustrations and 
figures, the parable or the allegory. 

These forms of the literary spirit are so organically 
related, one of them so often changes to another in the 
same paragraph or even sentence, that it is difficult to 
define them in words. To be realized they must be 
felt. As forms of art they can be realized only on the 

i33 



134 THE MESSAGE 

artistic plane and by the action of the artistic faculty. 
There is need, therefore, of some artistic means of real- 
izing and interpreting them. 

Whatever method is chosen, it must necessarily be 
artistic. To realize such literary forms we may write a 
story, make speeches, compose dramatic dialogues, or 
create epic situations or scenes. Writing is important, 
but especially in its higher aspects it is difficult if not 
impossible for many. Even if it were possible, it would 
still require some sympathetic method to prevent mere 
formalism or critical fastidiousness. A true method 
must cause sympathetic realization of the living actions 
of the faculties of the man in each form. 

The best method of realizing the true nature of litera- 
ture for one's self, or of interpreting its spirit to others, is 
by means of vocal expression. This brings into activity 
the artistic faculties ; it is the use of man's natural and 
primary languages. More than all other forms of 
artistic endeavor, vocal expression brings into har- 
monious activity all the faculties of the man, and 
mirrors his whole life. It genuinely tests thinking, 
awakens imagination, causes the right sympathetic 
attitude, and requires a conception of truth and the 
right emotional or sympathetic response to it. 

Great literature implies not a printed page but the 
human voice. Accordingly, the one great need in the 
study of any form of literature, especially of the highest 
and most exalted, is the right study of vocal expression. 
This prevents a cold critical estimate, and secures a deep 
realization. A man who cannot read aloud and inter- 
pret an exalted passage of literature can hardly have 
the profoundest impression of its nature. 



LITERARY SPIRIT AND VOCAL EXPRESSlOxN 135 

On the other hand, without thorough study of litera- 
ture, vocal expression tends to become artificial and 
superficial. The study of both must necessarily be 
united. Separation superficializes and degrades vocal 
expression on the one hand, and on the other prevents 
the appreciation of the real nature of the literature. 

The adequate rendering of the narrative spirit re- 
quires interest. The story is a transcript of life. Hence 
the events must be relived. If the story be treated as 
abstract and not a part of life, it ceases to interest. 
Events should be told as something new. Everything 
must happen. 

The didactic spirit requires the accentuation of think- 
ing. Next to life itself, thinking is the joy of the human 
heart. The reader in every kind of passage must 
accentuate his own attention and dominate that of 
others. He must not only think himself but cause 
others to think. 

The oratoric spirit implies purpose. It suggests one 
soul trying to move or persuade others. It implies 
greater interest, greater attention, and more passion 
than either narration or instruction, because oratory 
requires a soul to be dominated by exalted motive. 

The allegoric spirit gives life and personality to a 
thought, truth, or fact. It requires both generalization 
and intense and concrete imaginative conception. It 
implies deep and profound thought, and perception of 
the complex nature of the human soul. The allegoric 
paints the story with didactic and dramatic elements. 
Its vocal expression requires breadth of thinking, united 
with intense imaginative activity. 

The lyric spirit is the intense, personal realization of 



136 THE MESSAGE 

a single situation or idea, and implies the existence of 
deep emotion. It must make up for the movement 
of narration and dramatic action by intensity of gaze. 
The rhythm is a direct pulsation of feeling ; is con- 
trolled by subtle discrimination of ideas. The emotion 
in a lyric is sustained and nearly always personal. 
True worship is always lyric. The soul must feel for 
its own sake, and must come into relations with the 
infinite in a certain sense alone. 

The dramatic spirit is the expression of one man's 
realization of the truth as seen from the point of view 
of a fellow-being. It gives truth and expression in 
relation to character. It implies an identification of the 
reader with each person speaking. He must himself 
become so creative as to see things from the point of 
view of some member of the race. 

The epic spirit is the most exalted form of poetry. 
It implies intense realization of human experience from 
an ideal point of view. The reader must become a 
participant in the scene portrayed ; and events, charac- 
ters, and thoughts must be imagined by him. 

The lyric implies personal realization. The dramatic 
is the realization of the individual character of men ; 
but the epic is the typical ideal, and is its apprehension 
from the point of view of the race, or the universal 
ideal of mankind. 



Ill 

THE TECHNIQUE 



XIV. RHYTHMIC ACTIONS OF MIND 

Having studied the literary forms of the Bible and 
observed the variety of human experiences causing them, 
let us next turn to the actions of the mind in thinking 
and feeling and to the modulations of the voice by 
which these actions are expressed. A general concep- 
tion of the Message is not sufficient. Character may 
be appreciated, and yet have little or no effect upon 
expression through the voice. Every idea must be con- 
ceived and every experience felt ; every thought must 
be imagined and every situation relived. But this is not 
enough ; the vocal language must be mastered before 
the voice will be naturally modulated and directly and 
truthfully express thought and feeling. 

Vocal expression is the revelation, and more or less 
the spontaneous effect of thinking, command over which 
must be first acquired. Mechanical rules and imitation 
interfere with the direct effect of thinking and feeling 
upon their natural agents. Therefore we must search 
for laws and principles grounded in the action of our 
own thinking and learn to obey them. 

All mental actions, such as concentration, vision, dis- 
crimination, change in point of view, the methodic choice 
of objects of attention, and grasp of situation, can be 
consciously accentuated by the mind itself. Attention 
can be prolonged, thinking made more intense and 
more logical. 

i39 



140 THE TECHNIQUE 

In order to accentuate any mental action, however, 
especially for the purpose of expression, it is necessary 
for us to have a language. An idea or feeling is a 
spirit in prison until some linguistic door is open, and 
words are not the only nor the most immediate linguistic 
agents of mental activity. The primary channels for 
the manifestation of thought and emotion are the natural 
languages. At any rate, so close are the natural signs 
to the mental actions they express, that the immediate 
accentuation of the process of thought is greatly aided 
by the responsiveness of the natural languages. As a 
tree requires leaves in spring, so do the awakening of 
the imagination and the spontaneous, living energy of 
the mind require free expression through voice and 
body. As the accurate use of words brings clearness 
and definiteness to thought, so the mastery of voice modu- 
lation will bring fulness of life, vigor of concentration, 
and decision in the sequence of ideas. The finding of 
the right word is usually the finding of the right idea, 
and the securing of a right vocal expression is primarily 
the securing of a profounder apprehension of that idea. 
Thus the problem of improving vocal expression depends 
primarily upon the ability to accentuate the elemental 
actions of the mind, at the same time developing a sense 
of vocal form. Vocal expression is thinking aloud. 

The primary characteristics of thinking are the con- 
centration of the mind on one idea, and then a simple 
leap of the mind to another, where there is renewed 
attention, and so on. That is to say, all thinking is pri- 
marily rhythmic. If we observe the actions of the mind 
in thinking or in recalling some interesting scene, we 
find the mind proceeding by a series of pulsations. Atten- 



RHYTHMIC ACTIONS OF MIND 141 

tion seizes upon one subject, and then leaps to another 
and another. We find this characteristic even of musing, 
where the mind drifts passively ; but in more consecutive 
thought we hold our attention longer upon each idea, 
and exercise more care in choosing the next, or exercise 
critical oversight directing our thoughts along a definite 
path. To improve delivery, accordingly, it is first neces- 
sary to study, to accentuate, and to reveal by the action 
of the voice, this rhythmic pulsation of the mind in 
thinking. 

This rhythmic mental action is consistent with the 
universal law of nature — force everywhere in nature 
acts by pulsations. Nature is rhythmic. The bird flies 
rhythmically; the stream flows rhythmically. The 
dropping of water, the wind, the storm, all exhibit 
action and reaction, alternations of activity and pas- 
sivity ; and in the action and reaction there is always 
proportion. Day and night, summer and winter, the 
stars in their rhythmic orbits, all obey the same great 
law. The alternation is especially manifest in all or- 
ganic life. The heart beats rhythmically ; the lungs 
breathe rhythmically. Even the subconscious pro- 
cesses of the organism are always rhythmic. Without 
rhythm there is no life. 

The rhythmic action of the mind in thinking is no 
exceptional fact, and to develop any form of expression 
this rhythm must be accentuated and expressed through 
the voice. 

To become conscious of the rhythm of thinking, read 
the prayer of Habakkuk (Hab. hi. 2-19) slowly, in- 
tensely realizing each idea. Concentrate the mind with 
great vigor upon each successive idea, and give every 



142 THE TECHNIQUE 

consecutive phrase with one movement of the voice, or 
only one point of definite accentuation, and note the 
effect. Each phrase should be given also with unity. 
If the reader keeps himself aloof from the passage, 
rendering it with anxiety lest he may interfere with its 
intensity or with any kind of external reverence, the 
result will be unimpressive. On the contrary, if his 
mind seizes the ideas energetically, thought and feeling 
move together with strong rhythmic pulsations. 



XV. RHYTHMIC MODULATIONS OF VOICE 

What effect do these primary actions of the mind 
have upon the modulations of the voice? Expression 
also becomes rhythmic in correspondence with the 
rhythmic life of the mind. Thinking is cause, expres- 
sion is effect ; and if the cause be rhythmic, the modula- 
tions of the voice, when free from constriction, must be 
rhythmic also. 

The successive concentrations and progressions of 
the mind cause alternations of silence and speech. In 
natural conversation or reading, " silence is the father 
of speech," and there is a rhythmic proportion and unity 
between silence, or preparation, and expression, or 
speech. In silence we take, and in speech we give, 
each successive idea. 

Mere silence and speech may succeed each other 
but in chaotic and unrhythmic fashion. It is only when 
we receive in silence the impression that directly causes 
the expression, only when the pause and the speech 
following it have the relation of cause and effect, that 
rhythm ensues. When the mind, as is the case with 
poor readers, tries to take a whole sentence at once, or 
to give the words as words, or even to present the 
thought abstractly, the tongue merely pronounces 
words, and the effect is mechanical. Such wholesale 
thinking violates the law of rhythm, and destroys ex- 
pression. No effect is produced upon the breathing 

143 



144 THE TECHNIQUE 

and the body. In proportion to the domination of the 
rhythm of the mind over breathing, vocal action, and all 
the elements of expression, will be the genuineness of 
all vocal expression. Where there is absence of rhythm, 
there is vagueness of thought and emotion and chaos in 
expression. 

The deepest and most sublime expression must be the 
most rhythmic. Hence, in the interpretation of the 
Scriptures, without the dignified pulse-beat, depth of 
realization cannot be attained or revealed. No more 
important step in the development of vocal interpreta- 
tion can be found than the mastery of rhythm. 

Rhythm may be manifested in all the elements of 
vocal expression, but the primary elements are pause and 
touch. They directly express the alternation between 
preparation and manifestation, impression and expres- 
sion, between cause and effect. 

i. Pause. — To accentuate thought we must think 
idea after idea, and the mind must have time to concen- 
trate itself upon each centre of attention. The general 
purposes and relations of an idea are present in the 
mind, but they are in the background. The more defi- 
nitely the mind is concentrated, the truer will be the 
feeling, and the clearer, more adequate, and natural the 
expression. 

The first requisite of all expression is attention, and 
attention necessarily involves silence. Expression must 
come out of this silence as naturally and rhythmically as 
one swing of the pendulum follows another. The recep- 
tion, the realization, the living of each idea must cause 
its manifestation. 

Pause is recognized as one of the supreme difficulties 



RHYTHMIC MODULATIONS OF VOICE 145 

in elocution. The reader or speaker must learn to 
feel the significance of silence. The mind cannot take 
in a great deal at once. Psychology has proved that it 
takes time to receive the impression of even a single 
idea. Let the poorest reader give his mind time to 
picture and to apprehend each idea, and an improve- 
ment in his reading will be seen at once. Reading is 
an exercise of thinking. To direct attention to phrase- 
ology is not only useless but actually injurious. Let 
the reader, at the very first of all his exercises, be sure 
that he genuinely thinks, that his attention is intense 
and vigorous, that his mind moves from idea to idea, 
and that he gives significance to silence. 

One great fault in reading, and one of which nearly 
every one is afraid, is hesitation. Hesitation is not 
pause. Pause is an effect of mental activity, but hesita- 
tion indicates the absence of mental action. Hesita- 
tion implies failure to get the right word, or a loss of 
the continuity or association of ideas, or it is caused by 
uttering words before they are filled with meaning, the 
mind thus being left in a blank. Hesitation shows that 
the reader, having neglected to pause at the right place, 
is now compelled to stop at the wrong time. The 
remedy for hesitation is to bring silence into right 
relations with thought and speech, to accentuate the 
rhythm of thinking, and to use silence as an expressive 
agency. 

Pause is the first remedy for the monotonous and 
meaningless calling of words so common in the reading 
of the Scriptures. A false reverence for the mere words 
sometimes apparently prevents the reader from identi- 
fying himself genuinely with the thought and situation. 



146 THE TECHNIQUE 

It is not the words that are holy, — it is the meaning, 
the thought. There is nothing sacred about the 
letters, the print, or the paper ; it is the message that 
is sacred. The soul's realization of ideas and truth 
causes reverence. 

There is a physical as well as a mental necessity for 
pause. The reader must breathe, not only to make 
voice, but also to sustain life. But he who pauses 
merely to breathe has no control over his vocal expres- 
sion. The rhythmic life of the mind must be so vig- 
orous that the rhythm of thinking determines the 
rhythm of breathing. The apprehension of each suc- 
cessive idea not only causes emotion but also establishes 
the conditions of voice. Taking breath too seldom is a 
universal fault of readers and speakers, but he who 
first gets the power to accentuate the rhythm of his 
thinking and finds the expressive value of silence will 
have no trouble. He will not find his throat cramped 
or be weary when he has finished, but the life of breath- 
ing will itself be stimulated and he will become freer, 
even in the actions of his body, as well as more spon- 
taneous in feeling and more at home with his hearers. 

Pause has many functions in expression. It shows 
the connection of ideas. For example, in Luke ii. 16, 
where the shepherds are spoken of as finding " Mary 
and Joseph, and the babe lying in the manger," if no 
pause be made before the reference to the child, the 
lying in the manger may apply to all three. The pic- 
ture of the babe in the manger should be one in oppo- 
sition to Mary and Joseph, and this complete picture 
is the climax or centre of attention to the shepherds . 
and to us. 



RHYTHMIC MODULATIONS OF VOICE 147 

We find two kinds of pauses, — the ordinary rhyth- 
mic pause, and what has been named the emphatic 
pause. An emphatic pause may be introduced even in 
the centre of a phrase before or after the most impor- 
tant word. In the sentence, " I am the door of the 
sheep " (John x. 7), by making a long pause after the 
word "door" and subordinating the next three words, 
we make the thought far more impressive, and have an 
illustration of the emphatic pause. In reading " he 
that entereth in by the door is the shepherd of the 
sheep " (John x. 2), a pause after the word " shepherd " 
may be both emphatic and rhythmic'. 

Practise these and other pauses, and then read the 
whole passage (John x. 1-18). Accentuate the definite 
concentration of the mind upon each idea, and stay 
attention until a vigorous impression is obtained. Give 
time to each successive concentration, and justify the 
length of pause by the force and variation of the ex- 
pression that follows. 

Read some passage in the ordinary way (for example, 
Matt. xii. 18-21), and then read it mentally, realizing 
each idea, extending the powers and increasing the 
touch. Read it as impressively as possible, and note 
the differences. 

Read an emphatic passage, such as Psalm lxxxiv., 
many times, noting whether the intense conception of 
each idea causes breathing and establishes right con- 
ditions for tone. 

Contrast a passage containing a simple explanation 
with a weighty statement (e.g. Is. i. 1 with Is. i. 2), and 
note the greater necessity for pause in the second. 

In some emphatic passage (e.g. John xiv. 1-4 or 



148 THE TECHNIQUE 

Rom. viii. 1— 11,) use silence as a means of making 
salient as many ideas as are consistent with the unity 
and progression of the thought. 

Take an important passage (e.g. Ps. viii. or Matt. v. 
1-9), and show the staying of attention upon important 
ideas by the emphatic pause. 

2. Touch. — As pause indicates preparation and atten- 
tion, so touch denotes the location of the centre of the 
idea. Pause shows the concentration, and touch the 
volitional assertion of attention ; together they show 
the rhythmic alternation between reception and manifes- 
tation, impression and expression. 

Pause and touch are in proportion and rhythmic unity. 
The length of the pause determines the intensity of the 
touch ; the degree of realization is shown in the vigor of 
the expression. Pause is the realization or cause, and 
touch shows the effect. 

Touch is a primary vocal response, or modulation. 
It reveals control of the breath and the organism, com- 
mand of the words, and possession of the means of 
expression, also control of feeling, as well as concentra- 
tion of thought. 

Touch, denoting as it does the volitional command of 
conditions, is the least changeable of all the modulations 
of the voice. The different kinds of stress which have 
been indicated frequently — medium stress for one 
species of emotion, radical stress for another, and 
thorough stress for a third — are really faults. These 
different sorts of stress are found occasionally in life, 
but they are abnormal and expressive of weakness. 
Dignity uses a definite and decided touch even in the 
most reverent and intense emotions. Feeling is nor- 



RHYTHMIC MODULATIONS OF VOICE 149 

mally shown by tone-color and the modulations of tex- 
ture. Touch manifests will or control ; and emotion, 
to be noble, must be controlled. 

Touch is extremely important in the reading of the 
Scriptures, on account of the tendency of speakers and 
readers to drift in feeling. 

A decided touch, expressing a definite and vigorous 
attention of the mind, is the best remedy, as it is the 
best preventive, of the so-called " ministerial tune." 
Touch does not interfere with change of texture and 
tone-color in the most exalted experience. Inflections 
change with every idea ; the color with every situation 
and with every transition in the attitude of the mind 
or feeling; but a decided touch does not hinder their 
free employment. In fact, the more decided the touch, 
the freer will be the thinking and feeling and the use of 
all the means of expression. 

Pause and touch must be developed together, their 
alternation being the basis of rhythm and naturalness. 

Of all forms of reading, that which is highest must 
be most rhythmic. In the interpretation of the Scrip- 
tures, without the dignified pulse beat the depth of the 
soul's realization cannot be revealed. 

Accentuate the concentration of mind (e.g. in Ps. cii. 
25-27 or Ps. cxlvii. 2-5) and show each centre of 
attention by such a decided touch as will indicate its 
importance and justify long pauses and contemplative 
attention. 

Accentuate by an easy, reposeful, but decided touch 
the dignity of a character or the weight of a thought 
(John xiv. 1-4; Ps. xlvi. 9-10). 

Give passages full of great passion and excitement, 



150 THE TECHNIQUE 

using touch as a means of showing intensity of feeling 
and control over it (Ps. cxvi. ; 2 Sam. xviii. 31-33). 

Read a passage first with the ordinary colloquial 
touch and pause, and then accentuate pause and touch 
in natural proportions, so as to give greater weight 
(Ps. xxiii.). 

3. Phrasing. — Contrast conversation with ordinary 
reading, and you can easily note marked differences. In 
conversation words seem to be gathered into groups, ac- 
cording to the centres of attention ; while in poor reading, 
words appear to follow each other in a monotonous but 
disconnected stream. Whenever the mind is concen- 
trated upon an idea, the words belonging to it are gathered 
into a group, as filings gather around a magnet. Vocal 
modulations and pauses in conversation are infinitely 
varied, and rarely, if ever, misplaced. But in ordinary 
reading, there is a tendency to remain upon one pitch ; 
word follows word with little relation to thinking. The 
poor reader appears to pause only for lack of breath. 
His impression does not precede and determine expres- 
sion ; he seems at times not to think at all or to get the 
idea after he has pronounced the word. With such a 
reader the audience must receive the idea after the 
speaking of the phrase; but in conversation the ideas 
of the speaker are taken before the words are given. 

It is the influence of spontaneous thinking in conver- 
sation that gathers the words into groups and causes 
the various modulations. Intelligent reading must show 
the power of thought as much as does conversation, 
hence the pauses should be as long. The reader must 
have time to penetrate through the words of each phrase 
and to realize the ideas, as in conversation, or even a 



RHYTHMIC MODULATIONS OF VOICE 151 

longer time, on account of the greater dignity and weight 
of the thought. 

There are many elements in phrasing. Inflection and 
change of pitch unite in a conversational form, but pos- 
sibly the most notable and elemental are pause and 
touch. The grouping of words belongs to the rhyth- 
mic modulations of the voice, and the fundamental 
principle of phrasing is the fact that the rhythm of 
thinking must dominate the rhythm of pronunciation. 

Mechanical rules give little or no assistance in phras- 
ing. Such artificial rules as these have often been given : 
" Pause before a preposition, before a relative pronoun, 
before a participle introducing a phrase," and many 
others. But such rules, though containing a truth, are 
too superficial to be of any advantage. They are simply 
mechanical directions, and do harm by turning the at- 
tention of the mind to words rather than to the true 
centre of attention. Pause, touch, or any other of the 
vocal modulations, can be mastered only by a direct 
study of the process of thinking. Rules founded upon 
the mechanism of language, or grammar, seem plaus- 
ible, but in practice will be found inadequate. In con- 
versation the place of the pause is not determined by 
grammatical construction, but by the conception and 
attention given to each idea. It is not words, but think- 
ing, not grammar or rhetoric, but logic, or the laws of 
thought, which determine phrasing. 

To prove this, note that every one phrases differently, 
and that the same person in speaking the same sentence 
at different times will express it differently, according 
to his emphasis, attention, or earnestness. His purpose, 
and his sense of his auditor's degree of familiarity with 



152 THE TECHNIQUE 

the thought, will also change his rhythm and phrasing. 
In every case the action of the mind is the determining 
factor. The voice makes far more pauses than are ever 
placed in print, while occasionally there is a pause in 
print not observed in conversation. The two words, 
"Yes, indeed," have a comma between them, but no 
pause is given in conversation. 

When we examine the relation of ideas to words, we 
find a certain imperfection in verbal language ; that 
which is specific in the mind requires many words, and 
even phrases, to suggest it. Rarely is a complete pic- 
ture of the mind expressed by one word. In conver- 
sation, "in the morning" is spoken with as much unity 
as the one word "notwithstanding." Such phrases as 
"the early morning light," "the little forest stream," 
"the beautiful black horse," have but one centre of at- 
tention in conversation. The fact that a whole phrase 
contains only one idea, has caused such a group to be 
called an " oratoric word." All the words standing for 
an idea must be gathered into one group ; there must 
be a unity of the words to express the unity and con- 
centration of the mind. Vocal expression requires the 
accurate pronunciation of the words, not as an end, 
but as a means. The voice modulations are determined 
directly by the action of the mind back of the words. 
They form a distinct language, deeper than pronunci- 
ation. Words may be correctly pronounced, yet given 
in such a way as to confuse the hearer as to their 
meaning. 

Pausing and phrasing, though often confused, are not 
the same. There may be an emphatic pause in the 
very middle of a phrase ; such a pause, in fact, is 



RHYTHMIC MODULATIONS OF VOICE 153 

especially important in the reading of the Scriptures. 
The emphatic pause may come also before a word ; 
for example, in Mark i. 35, "and there prayed," a pause 
before "prayed " gives added intensity and strength. 

The union of pause with touch forms what may be 
called rhythmic emphasis, which is of great importance. 
In John xxi. 17, if we read "Feed my sheep" with a 
pause after "feed," with a distinct touch upon this and 
the word "sheep," great emphasis, tenderness, and 
dignity may be given to the words of the Master. In 
the same way, " and it fell : and great was the fall 
thereof," at the close of the Sermon on the Mount (Matt, 
vii. 27), when read with slow movement, with change of 
key and tone-color, long pauses and vigorous touch 
upon the central words, can be made a strong climax of 
the whole sermon. In both clauses long pauses are 
found after "and," "fell," "great," and "fall." Thus 
we see that the emphatic pause is more important than 
phrasing ; that it expresses no mere relations of words, 
but the deep thinking and feeling of the reader. Phras- 
ing is the subordination of words to thinking, — the 
relation of words to the underlying idea which they 
imperfectly symbolize. Pause is of more moment still, 
for it indicates the speaker's relation to each idea, the 
rhythm that brings all the elements of delivery, includ- 
ing phrasing, into unity. Phrasing is the result of the 
rhythm of thinking upon words, the gathering of words 
into relation to the central idea, while pausing shows 
the continuity of the thinking. Thinking is never 
expressed by a continuous stream of words without 
pauses. Pausing and phrasing both result from the 
natural sequence of ideas. The reader's estimate of 



154 THE TECHNIQUE 

the dignity and weight of his ideas will determine 
the number and length of his pauses. The conception 
of the ideas will gather the words into groups, according 
to the mental action. 

The development of phrasing, like the development 
of pausing and touch, must be associated with the 
accentuation of the rhythmic processes of thinking, but 
certain mental actions are especially helpful. 

One is the development of the pictorial action of the 
mind. Ideas must be seen and felt ; they must be so 
vividly conceived that they will dominate words. Bad 
phrasing results from lack of mental pictures ; but where 
the mental image is definitely conceived, there is a 
tendency to establish right phrasing. 

The definite concentration of the mind and the ac- 
centuation of rhythm will also naturally result in the 
improvement of phrasing. The observance of all the 
laws which have influenced pausing, — the receiving of 
the impression first, and the giving of a definite touch 
to express the conception of the mind, — will naturally 
result in right phrasing. 

The union of pause and touch and the necessity of 
phrasing are especially emphasized in rendering a 
spiritual passage. In Psalm lxv., for example, the 
pictures should be vivid, the feeling intense, and the 
words gathered into small groups in response to 
the thought. The pauses should be long, and the 
touches definite. We are thus able to realize and ac- 
centuate the imaginative, contemplative, and emotional 
spirit, and in this way we can apply a passage personally 
to ourselves. 

While phrasing seems to be the simplest of all the 



RHYTHMIC MODULATIONS OF VOICE 1 55 

actions of the mind in reading, even able scholars fre- 
quently accentuate little words and totally confuse the 
rhythm of thinking. This results from a failure to give 
the phrase its proper unity. Some such passages as 
Job xxxviii. 1-1 1 should be selected for practice, and 
the eye and the mind so employed that each phrase 
is grasped and the idea vividly conceived. Then each 
group of words will be expressed with unity of impulse 
and decided touch upon the central point. The reader 
who wishes really to feel the nature of rhythm must 
persevere in the practice of such exercises. 

The reader should also acquire the flexibility of voice 
associated with rhythm. Select any stirring psalm, such 
as the one hundred and fourteenth, for instance, and 
conceive with vigor each mental picture, accentuate the 
rhythmic action of the mind, and subordinate breathing 
and pronunciation and everything else to apprehension 
of the successive ideas and the mental action involved in 
passing from one centre of attention to another. 

Read Psalm cxxv. 1-3. Intensely think and vividly 
conceive each idea or object of attention, and give the 
words standing for it such unity and force of utterance 
as to accentuate the rhythm of thinking and reveal the 
action of the mind to others. 



XVI. DISCRIMINATION IN THINKING 

If we observe our mental action further, we find that 
in passing from one centre of attention to another, a 
new picture is created or a new point of view adopted. 
All thinking contains an element of discrimination. 
The mind at each centre of attention has free creative 
activity and finds something new, or progress in think- 
ing is impossible. Thus we find not only a rhythmic 
element in our thinking but changes in each successive 
mental concept. 

This discriminative action is of great importance in 
vocal expression. In proportion to the mind's power 
to make such changes quickly and definitely will be 
the command over attention, the ability to make distinc- 
tions and salient contrasts, and the power to accentuate 
and express the vigorous life of the mind. 

The worst and most common of all faults in reading 
is possibly sameness of pitch, caused by sameness in 
thinking. The free discursive action of the mind is in 
some way limited. The creative instinct which presents 
a new picture spontaneously with every object of atten- 
tion, which realizes imaginatively each idea, is to some 
extent fettered. 

There are various ways in which the freedom of mind 
is fettered. The mind may grasp broad relations of 
ideas so strongly as to limit the free sequence of dis- 
criminations and pictorial realization. There may be a 

156 



DISCRIMINATION IN THINKING 157 

disposition to eliminate rhythm, and with it the listener's 
attention, because without variation of ideas attention is 
necessarily weakened. In some sense this lack of 
definite realization of each idea lies behind all faults in 
reading. It is present in all indefinite or inadequate 
thinking. The expression sinks to mere monotonous 
drifting as a result of the almost universal tendency to 
grasp ideas by wholesale or to take an external attitude 
toward truth. 

The ninety -first psalm is one of the most subjective and 
subtle of the whole collection. The reader may read it 
in a drifting monotone, and feel that in this way he 
makes it impressive. Let him try it in this way, and 
then let him study the definite picture which each sepa- 
rate phrase implies, keeping his imagination active, and 
he will find that his emotions are surprisingly stimulated 
and that the passage has become far more impressive. 

The reader may at first hardly see any discriminations 
in some parallelisms. The change in verse 1 is in the 
point of view. The first clause is a general statement, 
but the second is a realization of experience, the result 
of dwelling in the " secret place." 

There are, however, much finer discriminations than 
any shown in the parallelisms. " Refuge " and " fortress " 
(v. 2) are not the same. The mental action in realizing the 
two ideas is different, the feeling is different, and a differ- 
ence shown by a change in pitch with other modulations. 
Although the second clause is parallel in thought with 
the first, the point of view is different, the realization 
more personal. The emphasis upon the word "God" 
changes from the impersonal and the abstract to the 
conscious intelligent protector ; the other is a mere 



158 THE TECHNIQUE 

" fortress" or place of "refuge." The " snare of the 
fowler" and the "noisome pestilence" are widely apart 
in any genuine realization, both in imagination and feel- 
ing. In verse 4 the mind is more likely to regard the 
act of God's covering " with his pinions," while in the 
next clause the thought of " under his wings " becomes 
a personal realization of the reader, a matter of experi- 
ence. There is therefore a considerable change in the 
modulations of the voice. " Shield " and " buckler " are 
not the same. The mind changes its point of view ; 
the longer the reader meditates upon the imaginative 
figures, the more will he perceive that the idea of 
"shield" is more negative, but "buckler" more posi- 
tive, implying not only protection but courage. " Pesti- 
lence in darkness " and " destruction at noonday " 
contain double parallelisms, but each is distinct. Verse 
6 is a partial reiteration of 5, but it is not exactly the 
same. The imagination is moving onward, the experi- 
ence closer home to a personal realization, and even such 
subtle changes in mental and emotional action, in the 
sympathetic attitude of the heart, may be shown by the 
modulations of the voice. "A thousand" changing to 
" ten thousand " seems a mere cumulative repetition ; 
but to one who knows the significance of "the right 
hand " in the Old Testament, a far more intense feeling 
is conveyed by this expression. In the last clause of 
verse 7, notice the very emphatic change which comes 
from the personal realization of protection. In verse 10 
the difference between " evil " and " plague " demands 
an emphatic pause after the word, and emphatic changes 
of pitch and color express our sense of His protecting 
care. Notice also the cumulative effort in passing from 



DISCRIMINATION IN THINKING 1 59 

"lion" to "adder" and from the "young lion" to 
" serpent." Then how varied the experience and vocal 
expression of the last verses ! 

The primary requisite of all expression is that a spe- 
cific impression should precede and determine it. This 
discriminative action can be easily developed. While at 
first the reader may imagine that chaos will ensue as 
soon as he begins really to think, the specific concentra- 
tion and the transition of the mind from idea to idea 
will result in varied and free expression. 



XVII. CHANGE OF IDEAS AND PITCH 

If we turn to the effect of this transitional or discrim- 
inative action upon the voice, we find corresponding 
changes. We note a change of pitch between words 
or phrases. Any variation in mental action directly 
causes a change in vocal action. In conversation we 
find continual changes of pitch as the most common 
element of naturalness. The wide range of voice in 
ordinary conversation is due not to rules of elocution or 
to imitation, but to the fact that the mind is left free. 
The voice naturally changes with changes of mind, — 
so much so, indeed, that the direction of the change is 
simply in the way most open. If one idea be given on 
a high pitch, a contrasted idea naturally follows on a 
lower pitch, or if one picture be portrayed in one part 
of the voice, a different one involves the use of another 
part of the voice. The reader must follow nature's 
guidance in accentuating the difference between succes- 
sive ideas, must use changes of pitch as the language 
of the discriminative conception of each idea, and also 
accentuate and extend the differences. 

Of all elements of delivery, possibly changes of pitch 
are freest from any mechanical rule. As the twigs 
upon a tree stand out in all directions, each simply 
extending in the direction most open to it, so natural 
speech, in direct response to the actions of a living mind, 
changes pitch, and in directions which will show most 

1 60 



CHANGE OF IDEAS AND PITCH l6l 

contrast. The degree of pitch and the direction of the 
change are wholly free. 

In developing agility of voice there must be an en- 
deavor to secure mental flexibility, and to identify, as 
far as possible, the vocal modulation with the free move- 
ment of ideas. Especially must the contrasting actions 
of the mind be accentuated. Each idea must be made 
as specific as possible, must be as much of a departure 
as possible from the last; and in the same way the voice 
if low in giving one idea or phrase, should be high in 
speaking the next, if high on the first, lower on the 
second, and so on with spontaneous flexibility. 

Monotonous conversation is infrequent, but monoto- 
nous reading is very common. To avoid sameness, the 
reader must carefully observe his mental processes and 
be able by his voice to accentuate this progressive dis- 
crimination. 

Change of pitch is of special importance in the read- 
ing of the Scriptures. The sacred and solemn character 
of the thought, the depth and dignity of the emotion, 
naturally tend to interfere with the flexibility of the 
mind and the corresponding variation in voice. Sub- 
lime thought must be conceived intensely ; the grander 
the ideas, the more they should be realized, changes in 
pitch should be more extreme, but more regular and in 
unity with the rhythmic changes in pause and touch. 

Changes of pitch should be especially studied in the 
parallelisms of the Psalms. The strong contrast in 
ideas, the fine discriminations in emotion, as well as 
changes in point of view, render change of pitch very 
important. 

In Psalm xcvii. 2, " Clouds and darkness are round 

M 



162 THE TECHNIQUE 

about him : righteousness and justice are the foundation 
of his throne," these two clauses must be so read as to 
be in direct opposition, the first showing the apparent 
attributes and characteristics of God, the second His 
real and true spirit. This contrast must be shown by a 
decided change in key and coloring. 

The reader must indicate not only such striking con- 
trasts but far more subtle transitions. For example, in 
Psalm lxxxiv. II, not only must the imagination realize 
the difference between "sun" and "shield," but the 
voice also must express that difference. In Psalm cii. 
6-7, there must be wide discrimination in the pictures in 
passing from " pelican " to " owl " and then to " sparrow 
alone upon the housetop." Such pictures should be 
vivid and definitely conceived, and then they will 
necessarily call for distinct changes of pitch. 

In Psalm civ., the reader will be tempted merely to 
enumerate the various objects; but "the springs," arid 
"mountains," "beast," "wild asses," and "fowl," and so 
on through the whole psalm, every picture must be 
definitely framed and have an expression distinct from 
the others. 

The intimate relation between change of pitch and 
pause and touch must be carefully observed. Pause 
without change of pitch is tedious. There is no pro- 
gression, but simply reiteration. Change of pitch or 
touch justifies the pause, and shows that it was genuine 
or that the mind was engaged in receiving a deeper 
impression, a fresh inspiration. The length of the 
pause is justified by the extension of the change of 
pitch. There is a certain instinctive proportion between 
the two which the speaker or true reader feels. 



CHANGE OF IDEAS AND PITCH 1 63 

We can see also an important relation between change 
of pitch and the whole subject of rhythm. One of the 
faults of rhythm is sing-song. This is not genuine 
rhythm ; it is only rhythm of words or phrases. It is 
a superficial, external rhythm, implying elimination of 
thought. The best remedy for it is accentuation of dis- 
crimination between ideas, the contrasting of one centre 
of attention with another, of each successive conception 
with the preceding. This will result in great variations 
in pitch. Sing-song is rhythm of feeling without rhythm 
of ideas ; alternation of pause and touch without varia- 
tion of pitch. If there be variation of pitch, it is a 
mere conventional tune and not the direct result of the 
apprehension of each successive idea. 

The reason why change of pitch has been almost 
entirely overlooked in elocution is that no rules can be 
laid down for it. The ordinary rule that joy is indi- 
cated by high pitch and sorrow by low pitch is worse 
than nonsense. Joy is given in all pitches, and sorrow 
indicated in every part of the voice. There may be a 
deeper principle, namely, that controlled, intense emo- 
tion of any kind tends to expression on a low pitch, 
while animation and lack of control, or explosive emo- 
tions, tend toward a higher pitch. As an illustration, 
we note the fact that speakers who have poor control 
of emotion or voice frequently get upon a high pitch 
and stay there. The explosive tendency causes con- 
striction of the throat, even tightening of the vocal 
bands, and a high pitch is the consequence. The 
remedy for such a fault is the development of a sense 
of the function of change of pitch, and the freedom of 
the pictorial action of the mind. 



164 THE TECHNIQUE 

In expression, where we study the simple, natural life 
of the mind in the voice, and strive to obey, not rules 
but principles, not to find something which would be as 
definite as a verbal symbol, but to find that which is as 
natural as the blooming flower, change of pitch is one 
of the most important steps to be practised. It will, 
however, not only furnish relief to the voice, giving 
more spontaneous and flexible action of all the agents, 
especially stimulating breathing, so as to enable the 
reader to take breath more frequently and in response 
to the rhythm of his mind, but will also develop imagi- 
native activity. It awakens a freer and more spontane- 
ous life of mind, and helps to correct all the worst faults 
in the reading of the Scriptures. 

As we find an ordinary and an extraordinary, or 
emphatic pause, so we find the ordinary change of 
pitch, which shows the passing of the mind from one 
idea to another, and an extraordinary change of pitch 
or key, which expresses marked transition in emotion 
or situation. 

These unusual changes are found in the Scriptures 
more frequently than in any other writings. As an 
example, note that after the cry of Stephen (Acts vii. 60) 
the simple description of his death is given on a much 
lower pitch, with deep emotional recognition of the sub- 
lime significance of the event. 

Again, note in the call of Isaiah (Is. vi.) that all the 
variations of pitch are more or less extreme and co- 
ordinated with long pauses and strong, slow rhythm. 
At the close of verse 8, " Here am I ; send me," 
there is a special contrast with what precedes, the chief 
element employed to express this being an unusual 



CHANGE OF IDEAS AND PITCH 165 

change of key. These words may be so emphasized by 
change of pitch, slow rhythm and coloring, as to indi- 
cate the relation of this passage to the whole book of 
Isaiah. 

Observe also that after any words of the Master, or 
any of His miracles, a description of the effect, espe- 
cially of the impression produced upon the people, is 
marked by an extreme change of key. Also, in the 
Master's words, when He passes in any of His addresses 
to an application or solemn warning there is a long 
pause with an unusual change of pitch as well as a 
slower movement. 

One may easily discover for himself the function of 
change of pitch. Read a verse of Scripture, giving 
phrase after phrase without variation of key. Then 
read the same with genuine thinking and realization of 
each idea, and give every phrase variation according to 
its specific meaning. The difference will be surprising. 
The variation need not be forced ; it is the thinking 
that needs to be accentuated, and the sympathetic 
response of the voice will naturally follow. 

Sometimes we find sustained changes of pitch, indi- 
cating a series of antitheses ; for example, in the third 
chapter of Ecclesiastes, " There is a time to be born, 
and a time to die," and the long series of antitheses or 
parallels which follow this. These contrasts are indi- 
cated by many modulations of tone, the most important 
being a change of pitch. This change seems funda- 
mentally necessary even when these contrasts are 
shown by movement and color. In fact a change of 
pitch does not eliminate but rather makes more neces- 
sary the presence of the other voice modulations ; and 



1 66 THE TECHNIQUE 

the habit of eliminating intervals of pitch will more or 
less cause the omission of changes in movement, color, 
and even inflection. The reason for this is possibly 
because discrimination is the first element in all 
thinking. 

Change of pitch in reading the Scriptures can hardly 
be overestimated ; it is liable to be overlooked. It is 
not thought of as having any meaning but considered 
as interfering with dignity and solemnity. The result is 
sameness rather than unity ; not weight, but monotony. 

The reader should demonstrate to himself the truth 
of these statements. Take some familiar, favorite 
passage ; think out the subtlest discriminations of ideas, 
the transitions to new pictures and to new points of 
view ; and in rendering accentuate these very strongly. 

Psalm Ixxxiv. or a joyous, animated passage may be 
given with the greatest possible variety. Isaiah vi. and 
especially the last part of Acts vii. are sublime pas- 
sages to be read with long pauses and extreme but 
regular changes of pitch, so as to accentuate their 
dignity. 

Take passages with unusual changes of theme, sub- 
ject, situation, or feeling, and indicate these naturally 
with changes of pitch. Practise some unusual or em- 
phatic change of key until the transition is perfectly 
simple and natural, and indicates not chaos but unity. 



XVIII. METHOD IN THINKING 

In a fuller observation of the processes of thinking, 
we discover a further important element. Not only- 
does the mind realize centres of attention distinct from 
one another, but with this discrimination each idea is 
also conceived in relation to others, and one idea made 
the centre around which many others radiate. Not only 
is there in every phrase a central idea and word, but in 
every sentence or paragraph there is one point more 
important than all others. In fact, in a whole address 
or Scripture Lesson, a single idea can be found to which 
all others are related or subordinated. 

This fact is shown especially in the difference between 
musing and thinking. In musing, the mind floats from 
idea to idea, but in thinking it exercises critical control 
over its own processes. While passing over many ideas 
more rapidly, it selects and holds one longer under 
the domination of attention. It chooses carefully the 
direction in which it is to go, and gives vital connection 
of idea with idea. From the truth of one idea, another 
is inferred. 

An important characteristic of a logical mind, and 
a mark of true culture, has been shown by Coleridge 
to be " The unpremeditated and evidently habitual 
arrangement of words, that are grounded in the habit 
of foreseeing in each integral part, or in every sentence, 
the whole that he intends to communicate." This broad 

167 



168 THE TECHNIQUE 

grasp by the mind of all that it is to give, may make 
thinking abstract and the voice cold and monotonous, 
but united to a living perception of each idea, it not 
only gives unity and continuity of meaning, but also 
aids the vivid realization of individual ideas. 

The word "method" etymologically means "road." 
The methodic action of the mind is the choosing of the 
path that leads through many ideas and thoughts to 
some specific end. In a labyrinth of words the intelli- 
gent reader chooses and fixes upon the central idea, 
which will lead him and his hearers also in the right 
direction. 

This penetrative, selective, or methodic instinct is of 
primary importance to true vocal expression. Every 
sentence must be so spoken as to intimate the logical 
road or reveal the connection of the author's ideas. 

The highest human characteristic is reasoning, and it 
is chief among the actions of the mind in reading. To 
be a good reader does not depend upon "mere aptitude, 
mere peculiarities of voice and manner which are in- 
born," nor does it depend purely upon the extent of 
one's knowledge or on having "something to say." It 
depends primarily upon one's ability to bring his best 
powers into harmonious action at the instant he is upon 
his feet. A man may be a great scholar, but without 
developing this power he cannot be a fine reader or 
speaker. The greater the preparation, usually the bet- 
ter the delivery. But no preparation can be substituted 
for the apprehension of successive ideas in relation to 
a broad purpose at the time one speaks. The interpre- 
tative reader must train his logical insight. He must 
gain the power to relate every word spoken to the cen- 



METHOD IN THINKING 169 

tral thought, sustain attention upon this main idea and 
make it logically salient by the modulation of his voice. 

One who seriously desires to interpret the Scriptures 
by his voice should make analysis of many long pas- 
sages. An entire epistle should be thoroughly studied, 
and the results of the profoundest exegesis applied to 
the finding of the central ideas that the voice may 
render adequately the method of the whole letter. At 
any rate the reader should study a Scripture lesson 
till he can show its method by his voice. 

Let us illustrate this by a part of 1 Cor. xv. Paul 
has been talking about the resurrection to the Corinthian 
Christians, to whom this article of belief was a stum- 
bling-block. In the thirty-fifth verse he notes one of 
their objections. Their trouble being with the manner of 
the resurrection, attention is centred upon "how" and 
"body." "Thou fool" must be spoken as if the reader 
spoke to himself as well as to others. Otherwise it may 
appear as an offensive or egotistic assumption. To call 
another a fool as if the speaker were not one himself, 
is an insult, but to say it to ourselves is the most impres- 
sive way of exhorting others. The revised version adds 
"thyself" to give emphasis to "thou" expressed in 
the Greek. " Sowest " is the key to the first illustra- 
tion, and is also asserted. Paul often uses antitheses, 
and they are very important through this whole passage. 
"Grain" is antithetic to "body that shall be." In 
verse 39 " flesh " introduces an entirely new illustra- 
tion. It must not be read as if the reader were still 
talking about sowing; the word must be so spoken as 
to show that Paul has passed from vegetable to animal 
life. "Beasts" and " birds " and " fishes " are succes- 



170 THE TECHNIQUE 

sively central. " Celestial " and " terrestrial " (v. 40) 
are in direct contrast ; and now follows a series of 
antitheses. "Sun," "moon," and "stars," all introduce 
new illustrations. Only one of these is carried out, — 
the idea of star, though " star " in the second case 
should be introduced with strong accent because anti- 
thetic to common opinion. Most people think that all 
stars are alike, but they are not. 

In verse 42 there is change of key and movement and 
color because Paul passes from the illustrations of the 
previous six verses to the central theme. " Resurrec- 
tion " is, of course, antithetic to all the illustrations. 
Not merely the word but the whole sentence must be 
strongly accentuated to show the central point at which 
Paul aims. Another series of antitheses is now intro- 
duced, contrasting " corruption " and " incorruption " ; 
"dishonor" and "glory"; " weakness " and "power"; 
the " natural body" and the " spiritual body " ; the "first 
Adam " and the " last Adam." Verse 50 is strongly 
antithetic to the common opinions and views of men, 
and every idea or phrase should be given with staccato 
accentuation. Then the movement becomes much slower, 
with strong accentuation of the rhythmic pulsations 
and centres of attention, making a climax on verse 57. 
There follows a long pause with change of key to 
indicate a transition back to those to whom he wrote, 
and verse 58 is then given with simple familiarity and 
intensity of personal exhortation. 

The reader should strongly accentuate the ideas 
which he regards as central and be governed, not by 
rules or by some one's marking, but by his own thinking 
and intuition. 



METHOD IN THINKING 171 

Carefully study Psalm i., and so emphasize by inflec- 
tion, change of pitch, and by the use of all the modula- 
tions of the voice that the blessing upon the righteous 
and the warning to the wicked are contrasted in such a 
way as to show the perfect unity of the whole. 



XIX. INFLECTION 

As we have found pause and touch directly expres- 
sive of the rhythmic mental actions and change of pitch 
revealing the discriminative actions of the mind, so we 
find that the logical connection of ideas, or the sense 
of method, is more especially shown by the various 
modulations of inflection. 

Inflection is change in the length of sound-waves ; 
that is, of pitch during the emission of a vowel. It is 
united to touch, and like it, is normally confined to the 
accented vowel of a word. Inflection shows the attitude 
of the reader's mind toward his ideas or their connection 
or relation to his purpose, his special point or degree of 
earnestness or his relation to his auditors. 

Inflection is a universal characteristic of conversation. 
Rarely do we find even a child who uses inflection im- 
perfectly in talking. But in reading or in speaking, 
misuse of inflection is one of the most common faults. 
Its specific value should therefore be carefully observed. 
Conversation must be studied and problems practised in 
order to develop and command its chief function. 

Inflection indicates the broader relations of ideas, 
especially in connection with change of pitch. Inflec- 
tion is change of pitch during the emission of a vowel ; 
and change of pitch itself is an interval between words, 
clauses, or sentences. These go together always, change 
of pitch revealing the discrimination of one idea from 

172 



INFLECTION 1 73 

another, while inflection gives the essential connec- 
tion and positive sequence or inference. These two to- 
gether discharge the logical function in delivery. 

A rising inflection is a shortening of the sound-waves; 
a falling inflection, the lengthening of the sound-waves. 
The length of an inflection is the range or amount of 
change in the length of the sound-waves, and the ab- 
ruptness of the inflection the rapidity with which the 
change is made. Of two inflections having the same 
range, one may take up more time than the other. 
Crooked or circumflex inflections are compound or irreg- 
ular changes of the sound-waves. 

1. Direction of Inflection. — The direction of inflec- 
tion indicates the attitude of the speaker's mind. A 
rising inflection indicates that the mind is looking 
forward, that the idea is given in relation to another 
which is coming or sought for. 

A rising inflection states an idea as an appeal. When 
the mind answers a question or asserts an idea in answer 
or to complete another, there is a falling inflection. A 
rising inflection indicates doubt ; the falling indicates 
certainty. The rising shows confusion, a sense of trivi- 
ality or superficiality, while the falling shows a sense of 
weight and importance attached to the thought. 

Direction of inflection is not determined by phrase- 
ology. Grammatical relations of words, even formal 
questions, do not determine direction of inflection. 

Inflection manifests the attitude of the thinker's mind. 
All rules such as " A question which begins with a 
verb or that can be answered by yes or no must be given 
with the rising inflection " have been discarded for a 
deeper principle. In fact, such questions may be given 



174 THE TECHNIQUE 

with a falling inflection if the question be asked in a 
dominating way, or when the asker practically hints 
his answer in asking. 

Vocal expression is not secondary to rhetoric. Both 
are governed by the laws of thought, or logic, and are 
parallel modes of expression, but neither is subordinate 
to the other. At times, the phraseology may express 
the same as the inflection, but this is not because inflec- 
tion obeys or is governed by words or the phraseology. 

Direction of inflection may indicate antithesis. Words 
placed in opposition are usually given opposite inflec- 
tions. " We are perplexed, but not in despair." We may 
have here a rising inflection on the first and a falling 
on the second. This, however, should not be considered 
as a rule, since contrast may be shown in other ways. 
We may give both with the falling inflection, separating 
them widely by pause and change of pitch, thus indicat- 
ing broader contrast or fuller perception. 

Again, direction of inflection may indicate the relation 
of ideas to one another. For example, "Whosoever 
shall do the will of God, the same is my brother, and 
sister, and mother" (Mark hi. 35). "Brother, sister, 
mother," might be each given a falling inflection. This 
would mean that Christ specialized ; one man would be 
a brother and every woman a sister or mother. Or a 
rising may be given to the first two and a falling to the 
third, indicating in a general way that to be His follow- 
ers implied all these relations and more. A number of 
ideas may then be grouped together in one conception, 
or they may be separated, distinguished, individualized, 
or detached by inflection. Again, the direction of in- 
flection may indicate the relation of the speaker to his 



INFLECTION 1 75 

hearer. A question may be asked with a rising inflection, 
to indicate an immediate answer or the throwing of the 
point upon the hearers, or as a means of saying, " Is 
that what you say ? " On the other hand, it may denote 
that the speaker adopts this sentiment, answering it 
himself, and that the question is practically answered 
in the way it is asked, or that the answer of the hearer 
is taken for granted. 

An excellent illustration of question and answer is 
found in 2 Cor. xi. 22-29. Each question is strongly 
accentuated, and no doubt the burden of the answer was 
thrown upon the Corinthians to whom Paul wrote. The 
rising inflection must be long and definite, and the answers 
given with an equally long and decided fall. A rising 
inflection on these questions indicates a suspensive atti- 
tude of Paul's mind, while a falling inflection on the 
answers shows his confidence and positiveness in meeting 
his slanderers. There should be also a change of color- 
ing, and a lower key, to show the great contrast in the 
point of view. Some of the questions may be given 
with a falling inflection, to afford greater variety in pre- 
senting the attitude of mind toward these critics. In 
this case there should be greater contrast in change of 
pitch and color, to indicate the positiveness of the 
answer. In fact, all the questions may be given falling, 
and the answers rising, or both falling. All depends 
upon the attitude of the mind and other elements intro- 
duced, such as pause, color, change of pitch and move- 
ment. To give the questions falling would indicate that 
Paul was taking it for granted that what his enemies 
asserted about themselves was true. Contrast and 
change in the interrogative attitude of the mind are 



176 THE TECHNIQUE 

usually best shown, however, by change of direction in 
inflection. 

Direction of inflection may indicate contrast between 
a negative and a positive attitude of mind. " Is the 
lamp brought to be put under the bushel or under the 
bed and not to be put on the stand ? " A rise on bushel 
and a fall on bed implies that there is no other place for 
the lamp. A rising inflection on both indicates that 
each is chosen simply at random as illustrating wrong 
places for a lamp. The word " stand " should receive 
the falling inflection in opposition to these. The mind 
preserves the negative attitude toward bushel and bed, 
but is positive toward " stand," the proper place for the 
lamp. 

Again, direction of inflection shows mental suspense 
as contrasted with affirmation. In Isaiah v. 7 we have 
these words, " He looked for justice, but behold oppres- 
sion; for righteousness, but behold a cry." By giving 
a strong rising inflection on " justice," a question seems 
to be put regarding the result. Then follows the answer 
with a falling inflection, on a lower pitch. For the same 
reason the voice rises on " righteousness " and falls on 
" cry." The contrast, however, may be given by change 
of pitch, with both inflections falling. Other ways also 
can be found. A rising inflection may, for example, be 
given to the word " behold," with a pause after it, which 
gives still another interpretation. There is a difference in 
meaning, but this can hardly be put into words. Definite 
prescriptions of mode are dangerous in vocal expression. 
Many modes may be true to the spirit of the passage, 
the differences being due to personal feeling or to the 
way the imagination of different readers may lay hold of 
the situation. 



INFLECTION 177 

From all this we see how varied may be the mental 
attitude which can be indicated by the direction of the 
inflection. 

Again, direction of inflection sometimes indicates 
quotation. The parable of the talents (Matt. xxv. 14-30) 
is often spoiled by the reading of one clause. " Thou 
knewest that I reap where I sow not, and gather 
where I do not scatter," should be given with rising in- 
flections. To read it with falling inflections is to seem 
to make the Master accept this interpretation of his own 
character, which he does not. The rising implies, " That 
was your opinion, was it ? " the point being, " Out of 
thine own mouth do I condemn thee ; " that is, " If you 
really had thought I was such a man, you would have 
acted accordingly and put my money into the bank, and 
thus have avoided responsibility. From your own 
words, the inconsistency between your professions and 
your actions, you will be judged." He was condemned, 
not because he had only one talent, or even because he 
had not improved it, but because of the lie, the false 
relationship between his words and his deeds. 

Take any strong, vigorous, intellectual passage ; not 
only vividly conceive each idea, but realize some definite 
attitude of mind toward this idea, and also relate it to 
other ideas in the whole passage. The sense of rela- 
tionship will aid and not interfere with the vividness and 
definiteness of the individual idea. Every word in noble 
discourse should have an inflection ; and they have such 
an infinite variation of directness, to say nothing of 
length and abruptness, that no rules can cover the 
ground. The reader should give passages in many 
ways, to demonstrate to himself the importance of flex- 



178 THE TECHNIQUE 

ibility and free variation, and to develop the logical 
action of the mind. 

2. Length of Inflection. — If we note conversation 
carefully, we find that there is an inflection in the 
utterance of every word in a phrase, but that these 
inflections vary infinitely in length. The most impor- 
tant word is usually given not only with change in the 
direction of the inflection but also with a longer inflec- 
tion than any other word in the phrase or sentence. 
Length of inflection thus indicates degrees of importance. 
If we compare several phrases, we find that there is also 
great variation among the emphatic words. Inflections 
may be given from a higher or a lower part of the voice, 
and may pass through a wide range likewise. 

Length of inflection also shows degrees of intensity 
and excitement. Again, passion may be expressed in 
mere loudness, but this occurs when there is little 
control over the feeling or lack of refinement. A pro- 
foundly serious man does not express his deepest feel- 
ings loudly. Length of inflection, united to decision of 
touch and the emphatic pause, is the most important 
method of emphasis in the reading of the Scriptures. 
This will be plain to any one who will seriously make 
the experiment in reading any important short passage. 
The reader must test for himself the use of any method 
of emphasis. He must not be content to drift. 

If the reader will choose what he thinks the most 
dignified and noble of speeches, and read it first in a 
colloquial way and then in five or six other ways, each 
time trying to give the greatest dignity possible, and 
will then compare the means in each case, he will soon 
discover the importance of length of inflection. 



INFLECTION 1 79 

Render some emphatic passages or strong denuncia- 
tions, such as Isaiah x. 1-4 or Matthew xxiii. 13-38, 
and notice the length of the inflections. 

3. Abruptness of Inflection. — An inflection may 
slowly change the length of the sound-waves, or vary 
them more suddenly ; that is, an inflection may be 
gradual or abrupt. The former may give us the 
appearance of length, but this does not necessarily 
follow. A gradual inflection may be short or long ; 
and an abrupt inflection may be also narrow or very 
wide in range. 

The gradual change indicates calmness, repose, con- 
templation, command ; while inflections will be abrupt in 
proportion to the excitement, intensity, and at times the 
vigor or, perhaps, the completeness of the control. 

Abruptness shows also the kind of excitement. The 
deeper and more profound the emotion, possibly the 
more intensely controlled the feeling, the more gradual 
will be the inflection ; while superficiality, triviality, and 
mere nervousness will be given jerkily and with abrupt 
inflections. In these cases, the inflections not only are 
abrupt, but may also be circumflex. 

Again, decision of thought, great self-command and 
intensity, require a certain degree of abruptness as well 
as length in the inflections ; this is so even in reveren- 
tial expression and prayer. The profoundest emotions 
are best expressed by the color of the voice without 
changing the inflections and touch. 

When inflections are too gradual, especially when 
they have a narrow range, they may indicate hesitancy, 
fear, deliberation, or indifference. Too slow inflections 
give the impression that the reader is not sure that this 



180 THE TECHNIQUE 

is just the right way to say what he has to say or that 
he has not full command of the central thought or 
emotion. In such cases they are usually also peculiarly 
circumflex. On the other hand, inflections which are 
both abrupt and long, express a feeling of decision in 
character and expression, belief, conviction, and intelli- 
gent realization of the thought. 

Abruptness of inflection must not be confused with 
shortness, nor must a gradual inflection be considered 
long. This confusion is common in the reading of the 
Scriptures, for there is a tendency to make inflections 
gradual ; sometimes, indeed, they are almost entirely 
eliminated. Assumed reverence eliminates inflection, 
especially the abruptness of it, but reverence should be 
in the man, and be shown in the texture and color of 
his voice. Even in prayer the intensity of thought and 
feeling should be shown, and by abrupt inflection. 
Abruptness of inflection is closely associated with touch. 

Short, abrupt inflections also characterize the collo- 
quial spirit. Short inflections are important in reading 
those parts of the Scriptures which are not emphatic, for 
they enable the reader to subordinate these and to 
emphasize by longer inflections those parts which really 
are important. 

The reader may be made aware of the difference 
between abrupt and gradual inflections by reading John 
xxi. i— 18. Note the difference in inflection between 
the dignified, serious, and tender words of the Master 
and Peter's excited speeches. Great depth of meaning, 
persuasion, and appeal must be given to the Master's 
questions. Hence the inflections are long, and gradual, 
while Peter's protestations are abrupt and broken. 



INFLECTION l8l 

4. Straightness of Inflection. — In addition to direc- 
tion, length, and abruptness, an inflection may be 
characterized by straightness or crookedness ; may 
be direct or what is called circumflex. An inflection is 
straight in proportion to the dignity and weight of 
the thought, the frankness, directness, simplicity, and 
seriousness of the speaker or reader. Inflections are 
crooked, on the contrary, in proportion to duplicity, 
sarcasm, double meaning, or some undignified attitude 
of the speaker. 

The inflections of the reader of the Scriptures, except 
in rare cases, should be as straight as possible. He is 
endeavoring to give weight to the truth or to express 
the dignity of the message he is to deliver. 

A circumflex inflection implies contempt and sarcasm, 
a kind of double meaning ; one thing is said and another 
is meant. When Elijah said, " Cry aloud, he is a god," 
he did not mean this, and his irony is shown by circum- 
flex inflections. But on account of the dignity of the 
message, such sarcastic inflections should be used spar- 
ingly, even when they are appropriate, and should be 
immediately offset with dignified movement and straight 
inflections in the next clause or sentence. Even the 
most colloquial conversation can be given dignity by 
straight inflections without loss of naturalness. True 
naturalness does not require the undignified elements 
which are found in daily gossip. A straight inflection 
implies conviction, genuineness of thought, earnestness, 
and sincerity. " When the eye is single," inflections 
are straight. 

Render a colloquial passage (James i. 12-19) where 
there is great conversational naturalness, accentuating 



1 82 THE TECHNIQUE 

especially the inflections and changes of pitch, but 
entirely without circumflex inflections. 

Contrast a dialogue between a dignified and an un- 
dignified character, such as the conversation between 
Christ and the woman of Samaria, John iv., giving 
straight and dignified inflections to the Master, and at 
first show the superficial attitude of the woman's mind by 
circumflex inflections, which gradually become longer, 
straighter, and more dignified. 

5. Freedom and Development of Inflection. — Rules 
must not interfere with the free action of the reader's 
mind nor with the spontaneous modulation of his 
voice. Delivery must be the direct use of the natural 
languages ; the reader must intensify his thought, 
dignify and make more definite his attitude toward 
every successive idea and situation, and appropriate 
inflections in great variety will immediately result. He 
must perceive the meaning of every modulation, study 
it in his own conversation, observe it in the conversation 
of others, and practise it in rendering his understanding 
of various passages of the Scriptures. He must study, 
vary, and combine these modulations until he finds the 
right expression. Absence of inflection shows the 
absence of definite thinking, at least at the moment ; 
the defect being that there is no sense of relationship, 
no variety in the attitude of his mind. The power by 
which one word may be made salient, and all others in 
the clause or sentence subordinate, must be realized, so 
as to give a clear perspective to thought. The reader 
must be able to grasp the whole substance of what he 
has to say, and bring each specific idea into kinship 
with his purpose. He must make each word a step in 
the direction in which the mind is going. 



INFLECTION 183 

Inflection has great exegetical value. Probably there 
is no modulation of the voice so important in interpret- 
ing fine and delicate shades of meaning. For example, 
in speaking this clause, " Her sins which are many," 
ordinary readers emphasize " many," and the subtle 
point of the passage is lost. If a falling inflection be 
given to the word "are," it indicates that the Master 
acquiesces in the opinion of Simon, as if he said, " Her 
sins — which, as you know or think, are many — are 
forgiven." It is difficult here to translate the delicate 
structure of the Greek, but this inflection renders some- 
thing of its significance. By this method of interpreta- 
tion the reader indicates that although Jesus read their 
thoughts and also her life, this made no difference in his 
sympathy and forgiveness. 

The reader of the Scriptures should guard against a 
special tendency to eliminate inflection ; he should 
endeavor to accentuate every shade of meaning, every 
specific assertion, and every subordination by the inflec- 
tion of his voice. A great variety of passages should 
be chosen, as different as possible from one another, and 
given with strong accentuation and extreme and varied 
changes of pitch. 



XX. METHOD AND MELODY 

Inflection and change of pitch, in union with pause 
and touch, constitute the elements of melodic form ; 
these modulations apply, not only to individual words or 
even to phrases, but to whole sentences and paragraphs 
and a union of paragraphs. The free and flexible varia- 
tion of inflection and change of pitch can bring out the 
thought of the passage as a whole and bring all parts 
into a unity of relationship. 

The general relations of ideas, the simple sequence 
of attention, are shown more by pause and touch ; but 
inflection and change of pitch introduce the possibility 
of showing the relative value of ideas, of suggesting 
broader relation of parts. 

If we speak a simple clause or sentence, such as, 
" And ye shall be witnesses of me," the word "wit- 
nesses," as the central idea, has a long, falling inflection. 
The words before this have rising inflections, with 
changes of pitch between them in the same direction, 
and all words after " witnesses" have the falling inflec- 
tion, with falling changes of pitch between them. The 
mind is looking forward, and shows this by using the 
rising inflections and by gradually rising until the great 
central word is reached, which is asserted with a falling 
inflection. The last words subordinated to this are 
given with a shorter, falling inflection and with down- 
ward intervals. If the sentence were a direct question 

184 



METHOD AND MELODY 1 85 

or an appeal to another man in astonishment, or for 
confirmation, the word " witnesses " would be given 
with a rising inflection, and all the following rising, but 
shorter on a higher pitch. The whole phrase or sen- 
tence is thus brought into one form in response to the 
perspective of thinking. 

The modulations of inflection and change of pitch 
constituting this form do not interfere with the rhythmic 
pulsations of phrasing, the pauses, touches, or any of 
the modulations of the voice. All these elements unite 
and point in every word of each phrase to the idea un- 
derlying the group. The more they are all present and 
the greater the emphasis, the more is this true. They 
do not interfere with each other. 

This may illustrate the elements of melody in speech 
so far as it applies to one phrase ; but by means of 
longer inflections, by still greater changes of pitch be- 
tween different clauses by giving one central word in 
a higher part of the voice and another in a lower part 
of the voice, a great many such clauses or sentences can 
be united in still higher relationship. The single clause 
or phrase, with only one centre, may be called conver- 
sational form, and the relation of many such phrases 
melody in speech ; but it is not necessary to cling to this 
distinction. 

The fundamental elements in this speech form are 
inflection and change of pitch, cooperating with each 
other. Other elements of delivery unite with it, and 
serve to emphasize its expression. 

The illustrating of this form by proper exercises be- 
longs to a work on the voice, but its meaning cannot be 
too carefully noted here. All ministerial tunes, all per- 



1 86 THE TECHNIQUE 

versions of speech, are modifications of this elemental 
form, the mastery of which is the mastery of naturalness. 

i. Conversational Form. — To realize this natural form, 
take only the three words, " He saw him." 

" He " is on a lower pitch with a rising inflection, 
while the vowel of " saw " is given a falling inflection 
from a higher pitch, and " him " has a shorter fall on a 
lower pitch. All three words are thus brought into 
unity. In the phrase " He was rich," the falling inflec- 
tion is upon the last word, the others having a shorter 
rising inflection, showing that in the speaking of the 
words the attention is focussed upon the last. The 
central word may be anywhere in a phrase, and almost 
any number of words may precede or follow it, while 
several phrases separated by pauses and changes of 
pitch may be held in one inflectional or conversational 
form. 

We find also that several of these forms can be 
brought into greater unity by placing them in different 
parts of the voice, and making the falling inflection on 
the central word longer in one of these clauses. 

The naturalness, clearness, and force of all vocal 
expression depend on two main elements : first, the 
saliency of the melodic form given to each phrase 
according to individual ideas ; and, second, the bring- 
ing of these phrases into inclusive totals by greater 
range of voice and more complex melodic relationship. 
The former reveals the individual ideas and the centre 
of attention ; the latter reveals broader relationship of 
ideas and thought. 

As men grow more earnest, the range of this conver- 
sational form or melody can be greatly extended. The 



METHOD AND MELODY I 87 

inflections, as well as the pauses and changes of pitch, 
may become longer, and the grasp of logical and melodic 
unity may be made to include greater totals. One of 
the most important points for the reader or speaker is 
the training of his voice to give this form with all degrees 
of extension. He must hold it so simply and saliently 
that it will not vary in its elements, whatever changes 
in color or rhythmic movement may be united with it. 

One of the most important methods of extending this 
form is by using an emphatic pause after the central 
word, and occasionally before it. Pauses are sometimes 
introduced between the short phrases in subordinate 
clauses. These do not interfere with the character of 
the form, but serve simply to extend it in time, and 
make it more emphatic. Extending the length of 
inflection and intervals enlarges the form and increases 
the power and saliency of variation in pitch. This, too, 
is very important : to lengthen the pause and increase 
the touch in the accentuation of the rhythm synchro- 
nously with the extension of the range and the accentua- 
tion of the elements of conversational form. 

The study of a passage may illustrate the power of 
conversational form. To indicate the great centres of 
attention, and to express the logical meaning of a long 
passage, study carefully the parable of the Good Sa- 
maritan, Luke x. 25-37. The word " lawyer " is here the 
first point asserted for consideration. It introduces a 
new subject. There is less accent on " tried." Take 
the lawyer's attitude of mind, and give a salient inflec- 
tion to " eternal life." Also, in the Master's answer, 
"readest" is the centre of a distinct phrase. Some be- 
lieve that verse 28, "this do and thou shalt live," should 



1 88 THE TECHNIQUE 

be given with a rising inflection, possibly a rising cir- 
cumflex, implying that the lawyer did not fulfil the law. 
An argument for this is found in the phrase "desir- 
ing to justify himself," but this may apply to his desire 
to try the Master, the cause of his original question. 
There seems no reason for this circumflex insinuation 
in the Master's words. Ingenuity is to be avoided. 
The word " Jericho," the climax of the verse, is em- 
phatic ; also " the robbers " and " half dead" — all these 
words mark the centres of attention. The word " priest " 
is emphatic, with an extension of the form. There may 
be some joy in the coloring that one should pass, from 
whom help would naturally be expected ; but there is 
surprise and disappointment in " passed by on the other 
side." " Levite " is emphatic, but the word "Samari- 
tan," as the central word of the whole story, receives 
double emphasis and a long pause, because as a sup- 
posed enemy he is the last man from whom any help 
could be expected. The word " compassion," because 
antithetic to the conduct of the others, is emphatic, and 
our surprise and admiration increase with his other 
acts. 

The parable, or illustration, must have unity ; there 
must be a long pause at its beginning, verse 30, and at 
its close, verse 35; it must be so read as to show the 
Samaritan in contrast to both priest and Levite. The 
question of the lawyer must also be accentuated, and 
verse 36 must be given with direct inflections so as to 
suggest that it was spoken directly to the lawyer and 
in such a way as to bring back the mind to the ques- 
tion which occasioned the parable. The last words, 
" Go and do thou likewise," must be given slowly and 



METHOD AND MELODY I 89 

tenderly. It is the lesson of the whole, and goes back 
to the spirit of the parable. Thus both the dialogue 
and the poetic narrative, when introduced with imagina- 
tive feeling and dramatic coloring, must be given very 
distinct relationship so as to show the unity of the whole 
passage. 

2. Subordination. — Not only is it important to make 
one idea salient, but the laws of form require also that 
others be made subordinate. To attempt to make every- 
thing salient is to destroy the perspective of thought 
almost as effectively as to make nothing salient. Deliv- 
ery must give perspective to the thought. The centre 
of the picture must stand out with great prominence, 
and the details which are familiar, accidental, or unim- 
portant must be put in the background. This is usually 
called subordination, and secured mainly by the union 
of inflection and change of pitch. 

It is surprising to note how frequently many readers 
and speakers, after making a salient discriminating 
inflection, at once bring the following clause or word, 
often of very slight importance, up to the same level, 
thus destroying the effect of the emphasis. Emphasis 
demands not only the accentuation of the central word 
or fundamental idea by giving it a long inflection begin- 
ning on a higher pitch, but also the giving of the sub- 
ordinate parts with shorter inflections on a lower pitch 
if after a falling, or with higher pitch if after a rising 
inflection. 

The failure to subordinate is one cause of speaking 
on one pitch. The accentuation of one particular 
point in opposition to another is necessary to correct 
monotony ; but as there are more parts subordinate 



190 THE TECHNIQUE 

than emphatic, subordination plays the more important 
role. 

As in a painting, the background is the chief source 
of the beauty of the picture, so the subordination of un- 
important words or clauses furnishes the real measure 
of the reader's or speaker's power. 

The reader must acquire the ability to give inflections, 
decision of touch, pauses, and rhythmic and melodic pro- 
gression or conversational form among his subordinate 
phrases and clauses, as well as upon the more emphatic 
parts of the passage. He must be able to begin low and 
climb to an emphatic word, and then be able to descend 
gradually to the lowest point possible. 

Subordination is dependent upon the power to sustain 
the attention on the salient idea while holding the acci- 
dental parts in relation to this centre. It is thus the reve- 
lation of the broader and higher logical relations of ideas. 
There is no greater difference among readers than the 
fact that one gives only pulsations upon the same pitch, 
while another gives a more logical sequence and relation- 
ship of ideas. 

The reader must acquire power to subordinate after 
an emphatic pause. "And great was the fall thereof." 
A long pause after "fall" makes it very emphatic, but 
its force is totally vitiated if the word "thereof" be 
given on the same pitch as "fall," and not subordinated. 
Such emphatic phrases with subordination are found 
everywhere. " The good shepherd giveth his life for 
the sheep." A long pause after " life," with the subor- 
dination of " for the sheep," makes the passage strong. 

The force of the emphatic pause is dependent upon 
the subordination of the following words. It is curious 



METHOD AND MELODY 191 

how much of a stumbling-block subordination is to most 
readers. The earnest student must seriously grapple 
with the task, and greatly accentuate his subordina- 
tions in connection with salient inflections and em- 
phatic pauses. 

The importance of subordination in conveying the 
meaning may be illustrated in 1 John iii. 3. In the 
clause " Every one that hath this hope in him," 
the phrase "in him" is usually subordinated. This 
makes "him " dependent upon the subject of the clause 
and capable of being omitted without changing the sense. 
If any one will look at the Greek, he will see the prepo- 
sition translated "in" is too strong for this. Hence 
the American Revisers render thus, " And every one 
that hath this hope set on him purifieth himself." If 
"in him" be given a separate inflection, — that is, not 
in subordination to the preceding phrase, — the meaning 
will then be entirely different. " Him " will refer to 
Christ. Which is correct ? 

3. Range. — Inflection and change of pitch bring us 
to range of voice. Successive clauses should bring all 
parts of the voice into play. One clause should be 
given in the middle of the voice, another in the higher 
part, and still another in the lower. 

If the reader will take an emphatic passage and de- 
liberately express different clauses in different parts of 
his voice, he will discover how easy it is to develop this 
most important, beautiful, and impressive element of 
vocal expression. Such a variation in pitch relieves 
the voice greatly, and gives more pleasure to the audi- 
ence ; but these things are of minor importance as com- 
pared with the greater clearness and impressiveness of 



192 THE TECHNIQUE 

the interpretation of the passage and the freedom it 
brings to conversational form. 

The whole subject of inflection, change of pitch, 
range, and subordination calls attention to the im- 
portance of flexibility of the voice. Agility of voice 
may be developed in part by technical exercises, and 
such should be used ; but the primary difficulty is with 
the thinking, especially with the discrimination of ideas 
from one another. The power to think upon the feet, 
to realize vividly each idea in contrast with the preceding 
in such a way that the voice will respond to the thought, 
is the most important aid. Beautiful voices may be mo- 
notonous, and lacking in range. A poor voice used in 
direct response to the mind with a wide range will be 
pleasanter and far more effective in expression than a 
good voice lacking the simple response to the progres- 
sive actions of the mind, sometimes on account of its 
owner's admiration for it. 

To test and develop the power of freedom or ease of 
the voice, use it in as wide a range as possible. The 
reader should also practise abrupt transitions. 

A passage which illustrates the necessity of increas- 
ing greatly the range of voice is John viii. 31-59. The 
words of the Master are most serious, and they produce 
a marvellous impression, so much so that " the Jews took 
up stones " to cast at Him. The spirit of the passage 
demands great contrast between the Master's manner 
and the rhythm and melody in the words of the Jews. 
They must have used circumflex inflections in their sneer- 
ing questions, while the Master added still greater dig- 
nity and weight, and His manner must have risen to 
heights of sublime suggestiveness. Possibly He used 



METHOD AND MELODY 193 

the sacred name when He said, " Before Abraham was 
I am," and thus provoked their anger. Certainly the 
changes of pitch, the contrasts in inflection, and move- 
ment of the passage can be rendered without detract- 
ing from its dignity. On the contrary, they increase its 
impressiveness. 

Thorough study and rendering of such a passage will 
also aid in developing the necessary flexibility of voice. 

4. Ministerial Tunes. — The so-called ministerial tunes 
will be best understood in connection with melody and 
inflection. 

There is an infinite variety of speech tunes ; every 
profession evolves one. The stage tune is totally dif- 
ferent from the lawyer's, the lawyer's from the teacher's, 
the teacher's from the preacher's. Each denomination 
of Christians has something of a tune peculiar to itself. 
All these speech tunes are faults of melody ; they have 
their root in some variation of conversational form. 

The most common element is a drop upon the em- 
phatic word, which results from a drift in feeling. Its 
most frequent cause is an ecstatic mood ; thinking and 
feeling are not brought into unity. 

To correct a ministerial " tune," freedom from some 
form of which is rare, will require serious attention 
to the relation of thought to emotion, and rhythm to 
melody. The first attention should be given to the 
thinking. The speaker or reader should be able to 
accentuate the centres of his attention, and be sure 
not only that he both thinks and feels, but that he 
thinks and feels each successive idea. He must indi- 
vidualize and not wholesale his ideas and emotions. 
The ministerial tune may be defined as the expres- 



IQ4 THE TECHNIQUE 

sion of a mood rather than of feeling, the manifes- 
tation of a general situation or subject without specific 
impression from individual ideas. 

The emphatic pause is the first help. The second is 
touch, the decision of which reveals definiteness of at- 
tention to individual ideas. The third, so far as the 
technique is concerned, is the definite variation of in- 
flection. Feeling must be manifested by color, thought 
by form ; and the reader or speaker must realize that 
they can be united, that one never interferes with the 
other. 

One guilty of a ministerial tune should make sure 
that he is speaking to his auditors, that he directly and 
definitely presents each successive idea to their atten- 
tion. He must have a definite, specific attitude toward 
each idea ; he must make men think each individual idea 
as he presents it to them, and must use all the modula- 
tions of the voice to induce attention. 

Another help is the careful study of intellectual 
emphasis of the central ideas. Where there is a mood 
there is a disposition to eliminate individual ideas. The 
reader should strongly accentuate all antitheses and 
discriminative mental acts, but must learn to do this 
without becoming didactic or neutral. 

The subject of subordination and range is of great 
importance, also the unity of the various modulations. 
In every case where the ministerial tune is concerned, 
there is a tendency to overwork some one form or mode 
of inflection or touch. The combination, therefore, of 
the intellectual methods of touch, pause, change of 
pitch, and inflection is primarily necessary. 

Many think that the ministerial tune is simply rhythm, 



METHOD AND MELODY 195 

and try to break it up by removing all rhythm ; but 
this is a mistake. A tune is often rhythm at the ex- 
pense of melody, but the rhythm is necessary. The 
rhythm, however, is usually artificial and not genuine. 
It is a rhythm of a mood or feeling, not of both thinking 
and feeling. 

The minister must not fear a tune, but must try to be 
genuine. A false melody is apt to become worse from 
dread, because thought of the external prevents a 
reader from concentrating his mind upon each idea. 
A fixed tune results from a negative mood. 

The worst phases of ministerial tunes are associated 
with meaningless changes of pitch and simultaneous 
eliminations of inflection. To make change of pitch and 
inflection a direct manifestation of meaning, is one of 
the important remedies. The reader must study all the 
modulations of the voice and get a definite conception 
of the function of each, in order to realize that expres- 
sion can reveal the complex life of his mind and heart, 
that at every instant these elements must combine to 
suggest every aspect of his realization of truth. 

Take a simple passage, and after talking as natu- 
rally as in ordinary conversation, gradually increase the 
range and distribute the ideas to a larger number of 
imaginary persons, while still maintaining the conver- 
sational form. 

Observe, for example, the first paragraph of the 
second chapter of James (vs. 1— 1 3). Here is a passage 
which the reader perceives to be specifically appli- 
cable to many of our prominent churches to-day. The 
preacher should read this selection as if giving a kindly 
personal application of it to the members of his church. 



196 THE TECHNIQUE 

In this case he will find himself under the necessity 
of using a great variety of modulations of his voice to 
press the meaning home, and he will also find that there 
are less tune and more form, — no less rhythm, but a very 
great saliency of melodic range. 

Such an exercise is important also because it enables 
a reader to apprehend how far he grasps the direct pur- 
pose of his ideas, and his power of relating one to 
another, and especially of relating each to the attention 
of his auditors. 

The dramatic passages where different men are talk- 
ing together, so often found in the Gospels, may be 
made helpful. The reader must grasp the real dramatic 
point of view, and identify himself directly with the 
situation. In Matthew iv. the devil's words are not 
approved by the reader if he is in sympathy with the 
spirit of the passage. This is true even when the 
devil quotes Scripture. There is nothing more ridicu- 
lous than to have the devil's words read very slowly 
in solemn, serious tones of admiration and reverence. 
One afflicted with a tune should read this passage, con- 
trasting intensely his attitude toward the Master with 
that toward the devil, and give the devil's words with 
some accentuation of the dramatic elements. 



XXL THE ARGUMENT 

One of the most important points for the reader is to 
arrange the argument of the passage he has selected 
to read. An individual verse may be understood, while 
the passage as a whole is but vaguely realized. It may 
be safely said that in vocal expression the perspective 
of the thought, that is, the due placing of some elements 
in the foreground, and the subordination of others, is 
the foundation upon which all realization of a passage 
is to be based. 

In every verse, in every paragraph, and in every well- 
arranged lesson there is one centre upon which the mean- 
ing depends. For example, the nineteenth Psalm may 
be called God's Two Messengers, or God's Two Modes 
of Expression. The first theme is the " heavens," which, 
especially to the Oriental, is the most important part of 
nature. The word " firmament " is a synonym of this, 
showing the extent of His handiwork, and indicating 
more in particular the glory of God. " Day " talks to 
"day," and " night " to " night." Though by us unheard, 
their " line " — their influence — has gone out through 
all the "earth," and their "words" to the end of the 
" world." The central pictures follow each other natu- 
rally, — " tent," " sun," then " bridegroom " and " strong 
man," or athlete. 

But now (in verse 7) we come to a different theme. 
The word " law " introduces a strong antithesis and is 

197 



198 THE TECHNIQUE 

very emphatic. The first part of the psalm is about 
nature ; the second concerns the written message or 
" law." 

In the second part the word for Deity is " Jehovah "; 
in the first, " Elohim." For this and other reasons, 
many critics imagine a double authorship ; but unity of 
authorship is of little importance in early literature. 
As the psalm stands, we have a unity of structure which 
is more important and must be shown by reading. The 
old English ballads had many versions, and it would be 
unnatural to suppose that the psalms have not been 
altered in being arranged for the temple services. In 
our own hymn-books a dozen versions of a hymn, only a 
hundred years old or less, will be found in as many 
hymnals. Critical analysis should settle these ques- 
tions, but the reader of the Scriptures should not 
remain in the critical and analytic attitude, but accept 
the psalm before him as it stands, provided it makes 
an intelligible impression of unity. His concern is with 
the effect of the literature, not with its evolution. 

The idea of the law is repeated in many synonyms, 
such as " testimonies," " precepts," "commandments"; 
but these must have no emphasis, for they are mere 
repetitions. After the word " law " the emphasis is 
upon its characteristics, which are contrasted with those 
of nature. This written record is " perfect " ; nature is 
imperfect. Nature may enlarge and stimulate the mind ; 
the law restores the " soul." Nature may give us knowl- 
edge understood by scientific men ; the law "makes wise 
the simple." Nature is indirect and reflective; the law 
is "right," direct, "rejoicing the heart." It teaches 
directly, — appeals to the intuitions, — while nature 



THE ARGUMENT 1 99 

requires reflection. Again, it is " pure," not confused, 
without so many perplexing questions as to the origin 
of evil or the death of the innocent. More than this, 
like a great work of art, this word opens the "eyes " to 
see. It not only gives information, but stimulates the 
faculties to appreciate it. 

Now we have another change, — "fear." This may 
be the same as law and not emphatic, but it may mean 
the right attitude toward it and be emphatic. Accord- 
ing to Perowne, in verse 11, we have another change. 
The psalm becomes subjective, and we are to accentuate 
the word "warned" and the idea of "keeping them." 
This part speaks of the inner life, conscience and intui- 
tive realization, the difficulties of discerning errors and 
recognizing hidden faults, the deliberative sins and the 
unconscious. And then at the close comes an expres- 
sion of the desire for simple and direct correspondence 
in our life and expression to the method of God in nature 
and in His Law. 

To read this psalm as it is usually read, with no 
accentuation of law in opposition to nature, no accentu- 
ation of the point where the psalm becomes subjective 
and refers to the intuitions, is to miss its argument, to 
fail in realizing its higher unity. Yet how very rarely 
is a passage like this interpreted by the voice in such a 
manner as to give a true understanding of the central 
idea or of the unity and relations of all its parts. 

Broader relations and higher unity may be intimated 
by the voice. Immediately after the Transfiguration 
(Luke ix. 28-45) the Master meets with a discouraging 
lack of faith. Raphael, in his last painting, portrays both 
scenes, — the Transfiguration above and the demoniac 



200 THE TECHNIQUE 

below. The reader may also bring the two parts of the 
passage into unity by contrast. The exaltation of the 
first, the shadow of the second, and the final victory in 
the healing of the boy may all blend into one impres- 
sion. A further contrast with a still higher view may 
be gained by continuing the lesson a few more verses to 
show the wonder and admiration of the multitude and 
His serious words, " The son of man shall be delivered 
up into the hands of men." This should be read very 
slowly, or in such a way as to suggest the sorrowful 
path to a still higher transfiguration. This may be 
shown more intensely by expressing the reader's under- 
standing of the failure of the disciples (v. 45) to 
comprehend His saying. 

In reading the death of Stephen (Acts vii.) notice 
that the first verse of the next chapter should be in- 
cluded. This verse may be read in such a way as to 
indicate the relation of Stephen's death to Paul's con- 
version. A change should be made from the deep feel- 
ing of the last words of Stephen to a wider range of 
voice and freer movement. It may thus suggest the 
fact that Stephen's death was not in vain, but was the 
cause of Paul's conversion. The earlier picture, " Their 
garments at the feet of a young man called Saul," should 
also be given suggestively. 

How difficult it is to find the connection or argument 
of many parts of the Bible is shown in a comparison of 
different translations. When we place an earlier beside 
a later version, though individual verses in the older 
translation have great beauty and force, yet in the later 
book the connection of the thought or of the argument 
has generally been made clearer. 



THE ARGUMENT 201 

When the King James Version is read, therefore, the 
reader should carefully study later versions in order 
more clearly to realize the argument and know what 
ideas are central. In some cases words may be substi- 
tuted that the meaning of the passage may be more 
definitely shown. 

If, for example, we read the twenty-eighth chapter of 
Job in the Authorized Version, we are entirely at sea 
as to its meaning. The specific ideas are given for their 
own sake. " There is a path which no fowl knoweth." 
Most people are sure that this must be God's providence, 
and expresses the mysteries of life. But when we turn 
to the Revised Version, we find that the idea of God does 
not enter into the thought until the twenty-third verse. 
The first part of the passage is a discussion of mining, 
as illustrating man's ability to discover and comprehend 
the mysteries of nature. "Silver," "iron," and "brass" 
are the first themes. In the third verse the subject 
(implied in Hebrew) is rendered "man" in the Revised 
Version; according to still later versions, "the miner." 
The path of the miner, let down in his basket digging for 
the veins of metal, is the " path which no fowl knoweth." 
Man's mind can penetrate, as no brute's can, into the 
secrets of nature. The passage is logical in the Revised 
Version, giving a simple description of connected facts, 
until we come to the great question in the twelfth verse 
concerning " wisdom," which is important, for it is con- 
trasted with all this knowledge of minerals here chosen 
to illustrate the power of the human mind. Then follows 
a discussion of the superiority of wisdom to all precious 
stones, and in the twenty-third verse the word "God" 
is introduced for the first time, and is strangely emphatic 



202 THE TECHNIQUE 

as the answer to the question, " Where can wisdom be 
found ? " He is the one who understands wisdom. 
Thus the mind is led onward from the metals of the 
first verses to a strong emphasis on "wisdom," and then 
to a more impressive touch and falling inflection with a 
pause and a change of color at the word "God." The 
mind still follows a natural succession of ideas until in 
the last verse wisdom is defined. The phrases " the fear 
of the Lord," and to "depart from evil," should receive 
salient inflection as giving a summary or climax of the 
entire passage. The whole chapter can be read aloud, 
and its meaning, or the logical unity of the whole, be 
made perfectly clear and forcible. 

A still more important and more difficult illustration 
of the power of the voice to manifest argument or con- 
tinuity of ideas is found in the fragmentary report of 
the Sermon on the Mount. Any analysis of this must 
be taken only as the opinion of one, and the method of 
reading it as simply an illustration to show how this 
meaning may be interpreted by the voice. Innumerable 
are the opinions regarding the meaning of this Sermon ; 
its true spirit is possibly understood by few. Every one 
must study this most important passage patiently, and 
get, not only an understanding of the whole, but a true 
conception of each part and its relation to the whole. 
No one can ever interpret such a passage without 
getting its spirit and its keynote. 

The simple sentence or statement before the Sermon 
(Matt. v. 1-3), and also the closing description of the 
effect of the Sermon (Matt. vii. 28, 29), act as a frame 
to the picture, and should be read in such a way as to 
suggest the weight and dignity of the Sermon by being 



THE ARGUMENT 203 

set off with pauses and delivered in contrast with 
greater flexibility and quicker movement. 

The citizens of the kingdom are first introduced 
(Matt v. 3-12). "Blessed" should be followed by a 
long, suggestive pause ; it is antithetic to " cursed " in 
the old dispensation. (See, for example, Deut. xxvii. 
15-26.) To give the right vocal modulations and inflec- 
tions to these words and clauses, the reader should hold 
in his mind the contrast between the Mount of the Law 
and the Mount of the Sermon. The Law said, cursed 
be he who disobeys. The Master is positive, and says, 
" Blessed," and later " Rejoice." The Law said, " Thou 
shalt not" — the point of view is external conduct. 
" Remember the Sabbath day " and " Honor thy father 
and thy mother," which seem to be positive, concern 
the external relations and are essentially negative. 
Even the commandments to love God and one's neigh- 
bor are given in the negative form. The Sermon, on 
the contrary, calls attention to the disposition of the 
heart. We are not good from what we do not do, nor 
even on account of any external acts, but on account of 
what we are or what we aspire to be. " Poor in spirit " 
and " meek " are simply the teachable ; " they that 
mourn " are those that are dissatisfied with external 
conditions; "those who hunger and thirst" the ones 
who aspire ; " the merciful " those who love. The " Ten 
Words," or Commandments, belong to the exodus from 
Egyptian bondage ; the Beatitudes to the exodus from 
a spiritual bondage. There are no references to robes, 
priests, ceremonies, or forms. Everything suggests the 
spiritual kingdom. 

If the Sermon be not read with its keynote in mind, 



204 THE TECHNIQUE 

the argument will be lost ; and it will be considered, 
as it usually is, simply a chaotic collection of phrases 
or sayings without logical unity, without any interpre- 
tation of the great fundamental principle of Christ's 
mission which is set at the very heart of this Sermon 
and runs through its every line with a marvellous unity. 
It is not chaotic, and should be so read as to appeal 
to the soul of man, and to enable him to realize the 
inner kingdom and its positive law ; the kingdom founded 
not upon obedience to rule, but upon purity of thought, 
aspiration, and love. 

"The poor in spirit " is emphatic. It is antithetic to 
the world's view, not the self-satisfied, not the rich, not 
those on the material plane, but those who aspire to 
the riches of the soul and the spirit. " Heaven " must 
be spoken so as to suggest what Christ meant, not a 
remote world patterned somewhat after this. " Mourn " 
is strongly emphatic. Mourners are the last class one 
would naturally think of as blessed. An implied 
antithesis is the strongest kind of antithesis, and all the 
Beatitudes contain implied antitheses. For this reason 
the Beatitudes should be read slowly. There should be 
a long pause before each reason for " blessed," and 
these reasons should be given so as to show that the 
blessings of the new Kingdom are not coming as men 
think they are. The Kingdom of Heaven is not to 
come with observation, not to the self-satisfied, but to 
those who feel a longing for higher things, to the meek, 
not to the proud nor to the pretentious, the self-asser- 
tive nor the successful, as the world regards " success," 
but to those of large ideals, with a sense of the unattained, 
to those who feel " the petty done and the undone vast" 



THE ARGUMENT 205 

in the spiritual life. " Hunger and thirst " and also 
" righteousness " are emphatic. Emphasis upon two 
successive words is made possible by their being 
separated with a pause. The pause is of special value 
in the Beatitudes, for the emphasis is rhythmic rather 
than melodic, and all is weighty. 

The " merciful" are those who have human feelings 
and tenderness. " Pure in heart," — the statement here 
should be read slowly, as it is important in its connec- 
tion. "The man," says Emerson, "who believes the 
world is ruined, has the ruin in the axis of his own 
vision." Chaos ensues because he has lost the right 
point of view. " Shall see God " because He is seen 
only in the soul; if not found there, He will not be seen 
anywhere. This should be read with more emphasis 
than any of the preceding reasons for being blessed. 
" Peacemakers," not the fighters, nor the strenuous, 
nor the dominators of the world by physical force, not 
those who conquer others, but those who conquer them- 
selves, who affirm the law of order and love in their own 
souls. 

The Beatitudes begin with " blessed," which is more 
or less passive; they close with the active "rejoice," 
which has increased emphasis. 

Two illustrations follow, as some critics think, with- 
out connection and out of place. Are they not the 
method of the new Kingdom ? Not by performance, 
but by being, the citizens of the inner Kingdom are like 
"salt." Such is the power of the inner life that their 
work is to let their " light shine." Have faith in light 
and love and simple being. Example is better than 
precept. The new Kingdom is the living Kingdom, — 



206 THE TECHNIQUE 

a kingdom of realization, having its source, not in the 
external mumbling of creeds, not even in the mere senti- 
mental helping of others, but in a deep life, not on the 
lower plane, affording them food for the body, but by 
awaking the light which will transform the darkest pit. 

The theme (vs. 17, 18) is implied in " not to destroy 
the law but to fulfil." This is strongly emphatic. " Ex- 
ceed " (v. 20) is specially emphatic. (See the Greek.) 
The scribes and Pharisees are here mentioned because 
they professed obedience to the Law. The external 
standard must be changed to an internal one, or ye will 
not enter here and now into the Kingdom of Spirit. 

Now follows the most marvellous use of antithesis in 
literature. " Ye have heard that it was said . . . but I 
say" knowledge must be direct, not traditional. The 
Old said, " Do not kill," but I say, be not " angry." 
" Angry" is strongly emphatic. The antithesis must 
be strong enough to point back to kill. " Raca " and 
" fool " are degrees of anger, and the corresponding 
degrees of punishment are suggested. You must be 
reconciled to your " brother " before offering your gift 
(v. 24). In the new Kingdom the important point is 
the disposition or thought before the act. The unkind 
deed results from the idea, feeling, or word. These 
bring men into the deepest fire of bitterness. Offering 
gifts is a mere mockery, and so is worship, without love. 
The principle applies not only to friends and brethren 
but even to enemies. " Agree with thine ' adversary,' " 
— emphatic, antithetic to brother. " Adversary " applies 
to mere poverty, ill health, or even a headache. If we 
cannot cease to oppose anything, we pass into the prison 
of the negative, and must pay "the last farthing." 



THE ARGUMENT 20J 

The next illustration is important. The Old Law 
said, " No adultery," but I say, " whoso looketh." This 
word is strongly antithetic ; the real sin is always in 
the heart before the outward act. Tolstoi says the 
woman may be a man's own wife. The battles of the 
new Kingdom must be fought in the depths of the soul. 
The evil desire must be overcome even if it be as dear 
as the " right eye " or " right hand." 

The word " but " marks an antithesis all through 
the Sermon, and should be followed by a suggestive 
pause with a change of movement, color, and key in 
nearly every case. The reader must distinguish be- 
tween the negative and the positive ; the mere tradi- 
tional external view which was and is still almost 
universal, and the true view here announced and im- 
pressed upon the hearts of men. The Old said, " Do 
not forswear (v. 33); perform unto the Lord thine 
oaths." " But," — strongly antithetic, also " not at all." 
We are to swear neither by " heavens," nor by "earth," 
nor by " Jerusalem," nor by the " head." The Old said, 
" Do not swear ; " I say, " Use no idle word." The old 
said, " An eye for an eye and a tooth for a tooth," but 
I say, "Resist not him that is evil." If struck "on thy 
right cheek," turn the " other." If they take thy " coat," 
let them have thy " cloak " also. If compelled to go a 
mile, go two. Let all be governed by love. Instead of 
loving our neighbor and hating our enemy, " love your 
enemies" that ye may be sons of your Father. Ye 
shall live in the kingdom of love and spirit and be 
"perfect as your Heavenly Father is perfect." Many 
Biblical scholars think the Golden Rule has by some 
accident dropped out of place, and should be placed at 



208 THE TECHNIQUE 

this point. It certainly makes the connection more 
complete, but may be read where it is found, and if set 
off by long pauses before and after, given its real force 
as the colophon of the whole Sermon. The reader can 
read it in such a way as to show that it belongs to all 
that precedes, or sums up all that has been said. Per- 
haps the Master used it at both places. 

Perhaps the real climax after all is as it stands : " Ye 
therefore shall be perfect, as your heavenly Father is 
perfect; " that is, the new Kingdom has its ideal not in 
the worldly ideas of men but in the character of God 
Himself. The aim of the new Kingdom is not to make 
citizens of a chosen nation but to make every man 
Godlike. 

The Master applies this principle to ordinary reli- 
gious observances. Do not flaunt " your righteousness 
before men" (Matt. vi. i). Give no " alms " for show, 
as hypocrites do. On the plane of their motive and 
desires, they have "received" their reward. 

We are to " pray," not at the street corners nor in the 
synagogue, but shutting the door of the sense-world and 
entering the inner chamber of the soul, to pray to the 
Father in secret. No vain " repetitions." The Father 
"knoweth." The prayer must be tested also by our 
attitude toward our fellows. If you forgive not, you 
are not in the forgiving spirit of the inner Kingdom, 
and the prayer is false. But when you are in the spirit 
you can pray, for prayer is the acceptance of the 
Father's love. 

Also when you "fast" you are not to be "of a sad 
countenance." " Anoint thy head, and wash thy face." 
Let it be a matter of the inner Kingdom between you 
and your Father. 



THE ARGUMENT 209 

Our " treasures" also must be laid up in the inner 
Kingdom (Matt. vi. 19, 20). That all man's treasure is 
really within is shown by the fact that "the lamp of the 
body is the eye ; " if "single," all is "light," if "evil," 
"how great is the darkness," not "that" darkness 
which is a mistranslation. All is dark if we are dark 
within. 

No one can serve " two masters." Accordingly, " Be 
not anxious for your life," — what to "eat" or what to 
"put on." "Life is more than food." Look at the 
"birds" — the Father feedeth them. Worry does no 
good. Why be "anxious concerning raiment" ? Look 
at the " lilies of the field " ; " even Solomon, was not 
arrayed" like them. If God clothe the "grass," how 
much more " you " ! Seek first his " kingdom " and 
" righteousness " and all these things shall be " added " 
to you. 

This division of the subject naturally closes with the 
thought that if the real life is within, all attention should 
centre there instead of on that which is external. 

"Judge not" (Matt. vii. 1); the new Kingdom is 
personal. Its law is personal, and the standards of 
judgment must be within ourselves. Even the Master 
came not to condemn the world ; how much less should 
we set ourselves up as critics of the orthodoxy of men or 
churches ! Why regard the " mote " seen in thy brother's 
eye and not the "beam in thine own " ? Always trying 
to correct the faults of others is a sign of hypocrisy, and 
indicates that we are living not in true consciousness 
but for external observation. The sublime spiritual 
standards within our own souls, our ideals, must not be 
thrown to " dogs," nor pearls before " swine." Criticism 
p 



210 THE TECHNIQUE 

and aspiration are between the soul and God. The 
spiritual life cannot be put upon a commonplace plane. 
To realize the highest, we are told only, " ask " and 
"seek" or " knock." Then we shall " receive " and 
"find," and "it shall be opened." How do you feel 
toward your own son ? When he asks a " loaf," a 
" stone " is not given, nor a serpent for a fish. Even on 
the lower plane we know what our children wish ; how 
much more does our Father f After a long pause, the 
whole may be summed up in the Golden Rule. 

Then comes in regular connection a series of warn- 
ings. Enter the " narrow gate " — not the wide one, 
nor the broad road, though "many" go that way. 
" Narrow is the gate, and straitened the way, that 
leadeth unto life, and few are they that find it." These 
clauses should be given very slowly, with the color of 
regret. The Master was warning those whom He loved ; 
not pronouncing judgment on those He hated, nor in- 
differently making a mere statement of fact. 

Beware of appearances, " false prophets, ... in 
sheep's clothing, but inwardly are ravening wolves." 
Look at the fruits. It is not talking, but doing, that 
shows what we are. In the sublime warning at the 
close of the Sermon the hearers are divided into two 
classes : those who have the Kingdom within, — build 
their house upon a rock against which rain, winds, and 
floods beat, but it falls not, " For it was founded upon 
the rock," — and those that hear and do not, are like 
the "foolish man who built his house upon the sand," — 
"it fell, and great was the fall thereof." These last 
words should be given very slowly. Then after a pause, 
on a different key, with a more familiar and simple atti- 



THE ARGUMENT 211 

tude of mind, the writer describes, almost colloquially, 
the effect of the Sermon upon the hearers. 

By comparing Luke's version of the Sermon, and 
finding the salient features of the whole, its ideas may 
be interpreted. Heaven must be, not a place afar off, 
but in every soul ; not an outer kingdom established on 
earth, but an inner one in every heart. The reader 
must feel that God is in His world, and " though a thou- 
sand times Christ be born, yet is he born in vain unless 
born in the individual soul." 



XXII. FUNCTION OF THE IMAGINATION 

Truth may be conveyed clearly, and at the same 
time impressions may be produced upon the hearer's 
mind favorable or unfavorable to its reception. Scrip- 
ture is often read in such a way as to make the audience 
hate it, but usually indifference is the worst impression 
produced. In all such cases, any one will acknowledge 
that the Scripture had better not be read at all. 

Art "does the thing that breeds the thought," and 
naturally implies the presentation of truth in such a way 
as to awaken love for it. At any rate, the Scripture 
must be read as attractively as possible. The reader 
must show admiration ; he must suggest the fact that it 
is something ideal, something calling for aspiration. 

The faculty which deals with the kinship of things 
gives insight into the ideal, sees things not as mere 
cold, external facts, but from the heart outward, is the 
imagination. 

As has often been shown, the imagination is the most 
truthful and truth-loving faculty. It is the foundation 
of all sympathy or sympathetic insight. It looks be- 
neath all external show, and finds the mystic heart and 
spirit. Without its aid, beauty and sublimity cannot be 
apprehended, much less can spiritual elevation be real- 
ized. The higher spiritual truths are often degraded to 
mere intellectual discussion — the sublimest aspiration 
stated as a mere fact. An idea may be presented 

212 



FUNCTION OF THE IMAGINATION 213 

clearly, but at the same time in a negative and neutral 
way. To correct such faults there is but one remedy, 
— the awakening of the imagination. 

Literature has been divided by De Quincey into two 
classes, — literature of knowledge, and literature of 
power. The first is concerned with mere information. 
So constant and so great is the progress in scientific 
discovery that books in any department of knowledge 
become out of date in a few years. Hence all litera- 
ture of knowledge is temporary. Literature of power, 
on the contrary, never dies. Homer's " Iliad " has 
not grown old. Notwithstanding its false cosmogony, 
Dante's "Inferno " grows in interest as the years go on. 

The most of the Bible belongs to the literature of 
power. Nothing in all literature can compare with the 
sublimity of its songs. Now poetry can be appreciated 
only by the poetic faculties. Language is but an appeal 
from the faculties of one man to kindred faculties in 
another, and unless the same perceptions are awake in 
the reader which were active in the writers, the Bible 
cannot be vocally interpreted. Unless the voice shows 
the reawakened life, in a living, responsive soul, the sub- 
limest poetry is turned into prose. 

Not only so, but there are many points which show 
unusual necessity for activity of the imagination in the 
reading of the Scriptures. The aim of the Bible is to 
awaken worship. Worship begins with wonder, and the 
faculty more than all others concerned with wonder is 
the imagination. This is the only power that enables 
one to realize that reality transcends the perception of 
his outward eye, that lifts one above the literal to a 
renascence of wonder. 



214 THE TECHNIQUE 

Again, the Bible is an Oriental book. To read it, 
there must be insight into the elements which belong to 
the whole race. " Poetry," says Aristotle, " is the in- 
terpretation of the universal element in human nature," 
and the imagination is the one human faculty by which 
a man in any age or nation can penetrate through all 
external forms and differences to the brotherhood of 
the heart. 

A knowledge of Bible customs, of the history of the 
times, the environments, and circumstances of a writer, 
is necessary to give material to the imagination. The 
scene must be created again ; he must relive the situa- 
tion, or the voice cannot interpret it. 

Again, the Bible is full of an infinite variety of expe- 
riences, characters, situations, and literary forms. All 
forms of poetry are embodied in this collection of books, 
for the Bible is a library, not a mere volume. 

Observe the vividness of the pictures in the Psalms 
and Prophets. How intense the imagination of Isaiah ! 
Where can we find more striking pictures than, " A 
hiding place from the wind," " The bed too short for 
man to stretch himself upon it," " The bulging wall," 
the " Burnt-out firebrand of Assyria " ? To read such 
passages in a cold, didactic tone, void of imagination, is 
to pervert their spirit. 

Men are apt to boast that in a pulpit their emotions 
are genuine. Ask a theological student to read a pas- 
sage of Scripture, or recite a poem, and he will sometimes 
say that he cannot do it unless he has an audience. 
Give him an audience, and alas ! his feeling is a mere 
mood. The preacher ingulfs himself in his ecstasy as 
the devil-fish surrounds himself with his ink, and in 



FUNCTION OF THE IMAGINATION 21 5 

forgetting himself imagines that he is lost in noble emo- 
tion, but such a professional attitude is the very death 
of true feeling. Feeling demands a specific picture, a 
living scene created by the sympathetic energies of 
the soul. 

Possibly no one has greater need of imagination than 
the traveller in the Holy Land. The few scraggy trees 
which are called Gethsemane, may or may not indicate 
the location of the Master's agony, but even if this is 
the place, these scrubby trees cannot be two thousand 
years old. The traveller must pause and create the 
scene out of his own soul. The place where the cross 
stood is entirely unknown. In some places around Je- 
rusalem eighty feet of debris exists, so that the very 
landscape is different. 

Thus the emotion awakened in response to any Scrip- 
ture lesson must depend upon the imaginative picture 
in the reader's own soul. It is well that this is so, for 
noble permanent feeling responds to an imaginative 
scene. The mother may be so stunned as to be unable 
to shed a tear, or shocked into uncontrollable agony by 
the literal dead body of her child. But long weeks or 
years afterwards she discovers in a drawer a pair of 
little shoes or a little coat, and you will find her in tears. 
Emotion, to be effectively used by the reader, must be 
under control ; and only emotion or feeling brought into 
relation with the imagination can pass into the realm of 
artistic expression. 

One of the most important functions of the imagina- 
tion is to furnish the background, situation, or atmos- 
phere which surrounds a person ; a change in the 
situation or circumstances may totally change the spirit 



2l6 THE TECHNIQUE 

of a line ; an idea spoken on one occasion will be deliv- 
ered in a totally different way on another. The mean- 
ing of any passage in the Bible, the significance of every 
sentence, clause, phrase, or word, and especially the true, 
emotional response to it, depend upon creating anew 
the circumstances under which it was spoken. 

" All good poems," says Goethe, "are called forth by 
an occasion." " In accordance with this spirit," says 
Herder, "the Psalms have a vivid background of his- 
torical circumstances," and unless this be felt by the 
reader, the vocal interpretation will be necessarily vague. 
No reader should be content until he has found the sit- 
uation and circumstances under which every passage 
was spoken. Of course, these in many cases are a mat- 
ter of conjecture; but careful, scholarly investigation 
has unfolded definite situations for numbers of chapters 
and even whole books, which formerly were entirely 
unknown. The imagination will act more intensely, 
freely, and even spontaneously, when its action is based 
upon thorough investigation and understanding. It is 
the function of the imagination to create a living scene. 
In the Psalms the situation is of great importance, and 
has puzzled many of the greatest scholars and poets. 
Many allusions and references once known to all are to 
us no longer intelligible ; large portions of the poetic 
books of the Bible are still sealed to us ; we cannot find 
sufficient situation and meaning to give their spirit by 
vocal expression. What do we know about the " burden 
of silence " in Isaiah ? Countries, even, are mentioned 
about which we know nothing. 

These suggestions at the head of some of the Psalms 
were no doubt added -later by devout men; they are 



FUNCTION OF THE IMAGINATION 217 

full of mistakes, but are still very suggestive, and no 
doubt record important traditions. At the head of the 
thirty-fourth Psalm, the king from whom David fled is 
wrongly named, unless it be possible that the name given 
is a second name. Yet, if the situation suggested by 
this heading be heeded, this psalm becomes clearer and 
more forcible. "I will bless the Lord at all times" is 
something for a man to say at any time ; but if we put 
it into the mouth of David, when he was without a 
friend, when he was compelled to feign madness before 
the king of the Philistines in order to escape with his 
life, or just afterwards when he had fled into the wilder- 
ness, not only an exile from his native country but 
rejected by the king to whom he had fled, it is much 
more forcible. " The meek shall hear and be glad " 
may refer to the outcasts in the desert whom he met 
that night, and to whom he proclaims peace, hope, and 
joy. Under such circumstances, if he should say, " I 
sought Jehovah and he answered me and delivered me 
from all my fears," this would mean something. David 
was indeed " poor " that night. " The angel of the 
Lord encampeth about them that fear him " was a 
natural expression for David, who as captain of the 
king's body-guard had seen the tents pitched in a circle 
around that of the king. Now he feels that the angel 
of Jehovah has pitched the tents around him though 
he be an exile in the desert. He possibly heard that 
very night the roar of the young lions that " lack and 
suffer hunger." "Come, ye children," may have been 
addressed to the outcasts, or the psalm may have been 
composed later, especially the last part, when, as an 
old man, he would naturally say to all around him, 



218 THE TECHNIQUE 

" Come, ye children, hearken unto me," while he un- 
folded his experience as a lesson in faith, hope, and 
trust to all. 

In the forty-sixth Psalm no situation is mentioned. 
The heading " For the chief, musician " possibly means 
that the copy from which this has been taken belonged 
to the leader of the temple choir. "To Alamoth " may 
have reference to the tune or instrument to be used in 
the temple services, or possibly "for the maidens." 
This copy may have been the one preserved, and 
these notes have come down to puzzle the modern 
student. 

If we study this psalm as being sung or written in 
commemoration of the destruction of Sennacherib, are 
we not aided to a truer realization of its force ? At that 
time God was, indeed, a "refuge." The ellipsis in 
verse 4 may refer to the anxiety regarding the cutting 
off of the water-supply, which is the most serious thing 
that can happen to a besieged city. There is a " river, 
the streams whereof shall make glad," refers to "the 
Tabernacles of the Most High." "The nations raged" 
may refer to the varied costumes of the complex Assyr- 
ian army. Those who had witnessed such a great 
deliverance could appreciate the command, " Be still 
and know that I am God ; " and the " desolations " that 
He had made were indeed the fact that He had made 
war to cease. 

Dr. Cheyne, in speaking of two views of Psalm 1., 
says : " Neither view do I myself hold ; but I would 
rather that my readers adopted one or the other than 
that they rejected all attempts to find historical situa- 
tions for the sacred lyrics. Without reconstructing the 



FUNCTION OF THE IMAGINATION 219 

porticoes, we shall not be in a position to do full justice 
to the inner glories of the palaces of the Psalter." 

The conception of a situation by a critic colors even 
his translation of specific words. For example, Ewald 
thinks that verses 7 and 8 of Psalm civ. refer to the 
great earthquake which took place near the close of 
Uzziah's reign, — a calamity which made a deep im- 
pression on the national mind, as shown by the imagery 
of many prophets and psalmists ; he therefore trans- 
lates the passage thus : — 

" At thy rebuke the mountains flee ; 
At the voice of thy thunder they tremble away ; 
Mountains rise and valleys sink 
To the place which thou hast founded for them." 

Most critics, however, think there is a reference here 
to the creation, and so they give a different tense to 
the verbs ; but the ordinary translation means little or 
nothing. It is foreign to the spirit of Hebrew poetry 
not to refer to definite places and events. In fact, it is 
untrue to the spirit of all poetry. The highest flights 
of the imagination, in dealing with a general truth, 
start from specific thought and a definite situation. 
The true poet in every age, like Antaeus, knows that 
he must keep his feet upon the earth, or he loses his 
strength. 

In speaking of the words of Jeremiah, " Oh, that I 
had in the wilderness a lodging-place of wayfaring men, 
that I might leave my people and go from them ! " 
Dr. Cheyne says that " one of the psalmists who thought 
himself back into the soul of this prophet, was so moved 
by this passage that he amplified it in lyric verse." 



220 THE TECHNIQUE 

Psalm lv. doubtless embodies the bitter experience of 
some soul in a situation similar to Jeremiah's ; and if a 
reader, before reading the fifty-fifth Psalm, will make a 
thorough study of the whole life of that prophet, enter 
into imaginative sympathy with some one of his despond- 
ent moods in the midst of trickery and disappointment, 
and bring all his feeling to an intense realization of 
these lines, he will realize the true spirit of lyric poetry, 
and also the true nature of vocal expression and its use 
of the imagination. 

" Fear and trembling have come upon me, 
And horror overwhelmeth me ; 
And I say, O that I had wings like a dove ! 
Then would I fly away, and be at rest : 
Lo, then would I wander far off; 
I would lodge in the wilderness ; 
I would haste me to my safe retreat 
From the stormy wind and the tempest." 
Translated by De Witt. Psalm lv. 5-8. 

The student must in every way endeavor to be accu- 
rate. Though he must consult many authorities, and, 
above all, judge for himself from internal evidence what 
was the real situation, he must give his imagination some 
freedom when he comes to read. For example, in this 
fifty-fifth Psalm, it makes little difference in the read- 
ing whether he considers the psalm to have been writ- 
ten by Jeremiah, or by one of his contemporaries, or 
by a later psalmist, "who thought himself back into the 
situation," the feeling will be the same in any event. 
The imagination will centre upon Jeremiah. 

At times a personal situation may be present. In 
reading the ninety-first Psalm, one may see before him 
the worn face of some poor woman upon her dying bed, 



FUNCTION OF THE IMAGINATION 221 

to whom he once gave hope by reading the words, 
" Under his wings shalt thou trust." That event may 
take such hold upon his mind that it becomes a back- 
ground for the psalm. Such situations are in accord- 
ance with the true spirit of poetry, which is " the 
expression of the universal element in human nature." 
A passage which has become connected with some 
great experience in a man's own life will, in spite of 
all that can be done, be more or less colored by that 
experience. As he reads the passage, a picture may 
rise in his mind about which he can say nothing at all ; 
but whatever inspires noble emotion in the reader's 
heart must be accepted, unless it carries one away from 
the genuine spirit of the passage. 

In some of the most spiritual psalms, like Psalm 
cxxxix., a historical situation is not necessary, and might 
hinder true spiritual apprehension. The truth here is 
universal, the writer being led away from all external 
relations and simply unfolding his own experience. The 
soul must turn inward, and instead of being dominated 
by an outer situation, must endeavor to realize infinity. 

Too many regard even the parables as totally inde- 
pendent sayings and stories without any relation of a 
speaker to a specific audience. A key to the true in- 
terpretation of the three parables in the fifteenth chapter 
of Luke is furnished in the situation and audience which 
are described in verses i and 2. They were spoken for 
the encouragement of publicans and sinners, and as 
a condemnation of murmuring scribes and Pharisees. 

The point of many of Paul's epistles is often wholly 
lost, unless we perceive the situation of the people to 
whom they were addressed. 



222 THE TECHNIQUE 

The imagination is necessary to appreciate the proph- 
ets. Take, for example, Isaiah xxviii. Verses 1-6 refer 
to Samaria. Our imagination must picture Isaiah in 
Jerusalem pointing north to the crown "at the head of 
the fat valley," whose glorious beauty was fading, and 
indicating the destruction which his audience knew was 
coming upon Samaria. But in verse 7 he turns upon 
his auditors, to those in Jerusalem, and pictures in hor- 
rible detail their drunkenness. He refers to the drunkards 
of the north as a warning to those at home. Verses 9 
and 10 are quotations from his auditors. " We must 
conceive," says Ewald, " the abrupt, intentionally short, 
reiterated, and almost childish words of verse 10 as 
spoken in mimicry, with a mocking motion of the head, 
and in a childish, stammering, taunting tone." The reader 
must use his imagination to realize the speaker, the place, 
his audience, and picture the diadem of the north to 
which he refers in his warning ; and then by dramatic 
imagination must identify himself with Isaiah's drunken 
auditors and their mocking speech ; and then the reader 
must turn with great intensity to a realization of Isaiah's 
terrible denunciation of Israel. God will send Assyrians 
to stammer and mock you as you mock His truth. Like 
wild beasts you will be " snared and taken." Your 
"covenant with death" and " agreement with Sheol " 
will bring only destruction. Your creed or plan to 
save your country is wrong ; you reject the one foun- 
dation stone and arrange only destruction, " for the bed 
is shorter than that a man can stretch himself on it ; and 
the covering narrower than that he can wrap himself 
in it." 

The reader should take this eloquent passage or some- 



FUNCTION OF THE IMAGINATION 223 

thing similar and study it carefully until his imagination 
can construct the scene and situation of the prophets 
and the great force of their imagery. 

No one should be afraid of the proper dramatic use 
of his imagination, for the dramatic spirit is found every- 
where in the Bible. We must feel exactly Simon's point 
of view ; we must realize the division of the Pharisees 
into parties, when they questioned the man who had 
been born blind. Not only in the dialogues of the 
Gospels, the stories of the Old Testament, in the dra- 
matic situations, in the speeches of the prophets, but even 
in the very heart of great lyrics and familiar epistles, 
there is a demand for dramatic imagination. 

In the reading of the Scriptures the imagination 
discharges many important and necessary functions ; 
the scenery, the home life, the customs, have changed ; 
the reader must create another age, and must renew the 
struggles of forgotten races. To read the words of the 
great prophets, we must live their lives, and realize their 
difficulties ; we must feel, as they felt, that the liberty 
of the country was imperilled, that the sacred temple 
was in danger. We must hear with them the divine 
call. Before we can interpret these sublime records and 
creations, our imagination must feel the hope which still 
burned in the hearts of men after long years of exile, 
and realize that faith that knelt in a foreign land and 
opened "a window toward Jerusalem." 



XXIII. EXPRESSION OF IMAGINATION 

If readers find it difficult to detect the presence of 
the imagination, they will find it still more difficult to 
realize the effect of the imagination on vocal expression. 

If imagination be concerned in all mental action, its 
presence must affect all the modulations of the voice. 
Even inflection, though the most rational and didactic, 
is yet made more regular and dignified by the imagina- 
tion. Touch is more generic than inflection, and can be 
made sympathetically responsive to any mental action, 
imagination included. As the imagination is especially 
contemplative, we find that pause is one of its distinc- 
tive signs. But imagination accentuates especially those 
modulations of the voice which express feeling. It does 
not commonly use those forms of emphasis which iso- 
late, but rather those which harmonize; hence tone- 
color is possibly its most direct language. In the 
absence of imagination, the voice is hard and neutral ; 
while the presence of the imagination causes sympathetic 
vibrations, richness, and variation of overtones. As the 
imagination is the primary cause of taste in vocal 
expression, it excludes everything crude or unnatural. 

As imagination is an exalted realization of a truth, its 
presence causes an increase in intensity, though not 
in the direct volitional modulation of physical force. 
Touch, inflection, and all voice modulations become 
more suggestive, less mechanical, and more harmonious. 

224 



EXPRESSION OF IMAGINATION 225 

While mere volitional command of modulations is some- 
times found in didactic and commonplace speech, 
poetic thought calls for greater decision, more intense 
realization, and a direct modulation of resonance or tone- 
color. Tone-color is the modulation of the resonance 
of pure tone. It must not be confused with quality. A 
tone may have a good or a bad quality. A bad tone 
results from irregularity in the sound-waves, a good 
tone from regularity of the sound-waves. In proportion 
as the sound-waves become regular, their resonance 
becomes capable of modulation by feeling and imagina- 
tion. Hence only a pure tone, a tone with normal 
quality, can show tone-color. The sympathetic modula- 
tion of resonance by emotion is constantly shown in 
passing from idea to idea, from situation to situation, 
from emotion to emotion. 

Tone-color is the subtlest, most unconscious, and 
most spontaneous of all the elements of expression. Its 
function is always doubted by the mechanical elocution- 
ist, who cannot realize even its presence. This is be- 
cause it cannot be made subject to rule. It is the 
direct result of the diffusion of emotion through the 
muscular texture of the body. It is the language of 
sympathy, feeling, and tenderness. In the common- 
place business or street voice color has few changes; 
but whenever an accident occurs and the soul quivers 
with emotion, or when some one shares a higher joy with 
another, in short, whenever imagination and feeling are 
awakened, the vibrations of the voice at once begin to 
change. The most delicate mental action will cause the 
well-trained voice to vary. Any violation of truth of 
color is at once felt, though it may not be recognized 
Q 



226 THE TECHNIQUE 

under this name. Yet no fault is more common. The 
first of the Sermon on the Mount is read almost in a 
tone of sarcasm. Men are very liable to let even their 
spiritual earnestness in reading the Bible run into an- 
tagonism. One often hears the Bible read with great 
sadness ; while some passage, full of joy, is read as some- 
thing greatly to be deplored. 

One remedy for all such faults is the awakening of 
the imagination. The development of tone-color should 
be associated with direct study of the most imaginative 
passages. Contrasts and transitions should also be 
carefully observed and practised. 

Except in genealogies and enumerations, there is not 
a paragraph or even a verse in the Bible that does not 
contain some subtle transition in feeling or in imaginative 
situation requiring the modulation of the sympathetic 
resonance of the voice, the most tender and delicate of 
all the elements of human language. 

Take, for example, Luke vii. 11-16, and observe how 
gently the Master deals with the widow of Nain, and 
how tenderly we speak the words, " The only son of his 
mother, and she was a widow." We gather up all our 
possibilities of imagination and feeling, and give the rich- 
est vibration of the voice to His gentle words, — not in 
the attempt to impersonate Him, but to reveal the impres- 
sion made upon us when " He gave him to his mother." 

One of the sublimest of all poetic situations is found 
in the fortieth chapter of Isaiah. We can imagine 
the unknown prophet standing in the midst of his down- 
trodden people, and seemingly gazing a thousand miles 
across the sand deserts to the sacred home as he speaks 
to the people who are like grass, without aspiration or 



EXPRESSION OF IMAGINATION 227 

hope. Hearing the voices that speak to him from afar, 
he proclaims his message. Founding his confidence of 
their return from captivity upon the character of God, 
he gives comfort to the exiles. He holds a dramatic 
dialogue between his own discouraged soul and God. 
In vividness of imagery that in sublimity has never been 
surpassed he illustrates the character of Jehovah. 

A marked fault in Bible reading is the modulation of 
inflections to express feeling. This was and is taught 
by the Rush and other mechanical systems of elocution. 
Any one who will observe carefully the difference be- 
tween strength and weakness will note that in actual 
life some speakers express feeling by minor inflections ; 
but such persons are weak and lack control. Notice 
the beggar's professional whine. Those who feel 
deeply and seriously show their emotions not by tremolo 
or semitonic melodies, but by the modulations of the 
texture and coloring of their voices. 

As we have found, emotion makes very little modifica- 
tion of touch; it also makes little change in the inflection. 
Says Mr. Gurney in his " Power of Sound," we can say 
" 'I love you ' and ' I hate you ' with the same cadence," 
that is, with the same inflection of voice; the difference 
of feeling is shown in the coloring of the tone. Inflec- 
tion is like the drawing of a painting ; the emotion, the 
modulation of resonance, is like color. It is due to this 
that we use the word " tone-color " ; as a painter adopts 
the word "tone "to express a certain relationship in a 
picture for which there is no other word, so for lack of a 
word in vocal expression we borrow tone-color from 
painting. 

We can now see more definitely what the ministerial 



228 THE TECHNIQUE 

tune is. It is primarily changing the inflections, touch, 
and the elements of conversational form to reveal feel- 
ing, and eliminating variations in texture and color. 
The remedy for this tune is to bring in the additional 
element of the modulation of resonance for expression 
without any change in these fundamental elements of 
naturalness. 

The function of inflection in general is intellectual, 
while the emotions and feelings are revealed by the 
color of the voice. A union of inflection and color is 
most important in delivery. Displacement in the func- 
tion of one of these by the other is the chief element in 
ministerial tunes or " tones." 

As feeling is response to the imaginative or creative 
action of the mind, the adequate development of emo- 
tional power, and the proper awakening of emotion, 
should be associated with the development of adequate 
imaginative action. A prominent source of bad vocal 
expression is the neglect of attention to feeling. Men 
universally recognize the necessity for truthfulness in 
the expression of thought. They would feel very 
keenly their shortcomings if unable to define a word 
or an idea, or even a principle. But the truthful ex- 
pression of feeling is not considered important, and 
yet this is the very soul of vocal expression and the 
most difficult and important problem in the vocal inter- 
pretation of the Bible. The definition of a word or idea 
is simple compared with the definition of feeling or 
experience. 

The word "intellect" means "cutoff," "separate"; 
the word seems to recognize the fact that an idea comes 
to us as an independent thing. Feeling, however, is 



EXPRESSION OF IMAGINATION 229 

something that rises in the heart, and seems a vital part 
of ourselves. Psychology has never been able to name 
and classify the feelings. One of our leading psycholo- 
gists says that it is almost impossible to study feeling, 
because if we lay our finger upon it to analyze it, 
it has completely changed. But when we come to 
expression, we find that the very soul of delivery is the 
ability to define accurately and carefully each emotion. 
If this be not done, there can be no impressive, or 
even truthful, expression. 

Some preachers have but one emotion; some have 
none at all ; some have two or three ; few have a large 
gamut. The innumerable emotions of the heart are 
nearly all suppressed unconsciously. The study of tone- 
color must be associated with the awakening of the 
imagination and a command of all the emotions. 

The study of expression is the real place for the 
study and mastery of feeling. Feeling can be educated, 
and expression is one of the chief means of refining it, 
and developing a range of experience. 

Feeling is neglected because it is intuitive, and can- 
not be discriminated so easily as intellection. Any one 
may see that words express the conceptions of the mind ; 
but the tones of the voice, the natural language of the 
emotions, reveal the heart. The universal neglect of 
the voice and its language of modulations is no doubt 
associated with the neglect of feeling in psychological 
studies. 

In general, every idea may be said to have a feeling 
of its own, an experience peculiar to itself, and there 
should be a corresponding expression of this emotional 
action. 



230 THE TECHNIQUE 

A primary cause of faults in delivery is that the 
speaker feels his subject only as a whole. The occa- 
sion, the position he fills, the needs of a church or con- 
gregation, the subject in general relation to the race, or 
the reverence for the entire Bible or the whole lesson, 
these are felt, but he does not feel each individual idea. 
His experience is vague and indefinite. 

A reader of the Bible must develop a gamut of emo- 
tion, and this can be done by avoiding all abstraction, 
negation, or neutrality, and concentrating attention upon 
each idea. Contrasts are helpful. One may take two 
ideas which are totally different in their experience, and 
give them in opposition. Some persons are so monoto- 
nous in feeling and delivery that they express joy and 
sorrow with the same coloring. The student should be 
made aware if he does this, and shown that he has 
intellections, but not emotions ; that he thinks an idea, 
but does not live it. Able men sometimes surrender 
themselves so much to intellectual activity that think- 
ing becomes severed from all imagination and feeling. 
The preacher's ideas are often separated from himself. 
Genuine delivery is the giving of a man's soul with his 
ideas. Emotion comes to us. We can think and sup- 
press the emotion, can eliminate it, but in so doing we 
suppress the profoundest part of our nature. The habit 
of abstract intellection is so universal, especially as a 
result of our educational system, that these words may 
provoke a smile from some ; but by one who has seri- 
ously studied the problem of delivery, the absolute 
truthfulness of the remark will not be questioned. 

Bible reading is " the presentation of truth by person- 
ality," the interpretation of truth by personal experi- 



EXPRESSION OF IMAGINATION 23 1 

ence ; it will be seen, therefore, that the study of expres- 
sion is the study of experience, of feeling, and the 
realization of truth. All reading, all speaking, all vocal 
expression from the point of view of delivery, must be 
simply the revelation of realization, and emotion may 
be the deepest realization of the man. Who can con- 
ceive of a spiritual life and worship without feeling ? 

This reference to the emotional element in experience 
and the importance of expressing feeling truthfully is 
placed here as the most helpful means of developing 
the imagination and tone-color. Tone-color is the 
primary agent for the expression of feeling. 

It is astonishing how earnestly men work upon the 
thought and meaning of a passage, and how rarely 
they think it necessary to meditate over what was the 
cause, point of view, situation, or the emotion which 
dominated the heart of the speaker at the time ; and 
yet the feeling and situation are fully as important as 
the thought. It was not merely what the Master said, 
but the way He said it, that moved men. Passage 
after passage in the Gospels becomes clear to us only 
when we feel the sympathetic point of view of the 
Master, or the attitude of those to whom He spoke. The 
words were often uttered to produce immediate impres- 
sion. The life of the time has come down to us em- 
bodied in words, and unless we can use our imagination 
and dramatic instinct to feel the life of that moment, 
we fail to realize the import of the passage. 

To develop truthfulness of feeling the reader should 
arrange many short passages from the most important 
parts of the Bible, where there is very definite feeling, 
and should study these in order to apprehend the real 



232 THE TECHNIQUE 

character of the men to be portrayed, nor should he rest 
content until he can give every one its definite expres- 
sion. He should arrange forty or fifty short passages, 
and practise them until he can give each one its own 
emotions and character. 

Psalms lxxxiv. and xc. may be read in direct contrast. 
A dialogue such as Luke vii. 35 gives a dramatic con- 
trast in feeling. 

One of the most notable passages for the control 
of emotion and intensity of coloring is the account of 
the scene in the Garden of Gethsemane (Matt. xxvi. 
36-46). The prayer especially must be given slowly. 
The word " nevertheless " demands a pause after it. 
The situation should be so intensely felt that the breath 
must be held in, and the feeling awaken and diffuse it- 
self through the body, until the whole texture of the 
voice softens and becomes transfigured by the inward 
emotion. 

Among the most intensely passional words in all 
literature is David's lament over his son Absalom 
(2 Sam. xviii. 31-33). The close of verse 33 must be 
given with great intensity and control of breath, and 
with vigorous touch. 



XXIV. ASSIMILATION OR SYMPATHETIC 
IDENTIFICATION 

A reader must give his hearers words; but pronun- 
ciation, though a necessary mechanical prerequisite, is 
not really expression, for words may be pronounced 
correctly, and the meaning and spirit of a sentence be 
perverted. Expression implies the giving of ideas, 
thought, situation, and experience. These are expressed 
by pause, change of pitch, touch, inflection, tone-color, 
and movement. 

All of these mental causes of expression have been 
discussed except experience ; and all the technical means 
for their expression except movement. Experience and 
movement with imagination and tone-color are apt to be 
entirely absent from the ordinary reading of the Scrip- 
tures. Most readers are content with giving merely the 
meaning, and so eliminate imagination, sympathy, and 
the higher actions of the mind, and omit practically all 
the modulations of the voice except a pause and an in- 
flection introduced now and then. 

But important as thinking is, true interpretative read- 
ing demands more. The reader must grasp every scene, 
and identify himself with every situation, point of view 
or character, and express the deepest feeling of his 
heart. The experiences of the human soul are the most 
vital elements in expression. The higher the literature, 
the more is experience the theme. It is the function 

233 



234 THE TECHNIQUE 

of literature to elevate feeling, refine emotion, widen the 
range of experience, and make each one a sharer in the 
life of his race. 

All expression centres in character, and character is 
developed by experience. Character means a "mark"; it 
is the mark or record which experience leaves on the soul. 
All expression is the revelation of the impressions pro- 
duced upon an individual heart. " No one can give any- 
thing to his fellow-man but himself," his point of view, the 
truth he sees, feels, and realizes. Experience is the real 
life of the man, and reading that does not reveal it is 
artificial and cold. 

The greatest fault in expression or the most universal 
cause of faults is neutrality or the negation of experience. 
This lies at the basis of a dozen kinds of monotony. 
The secret of the natural variation of expression can be 
found in no mechanical rules or imitation. All mechani- 
cal elocution substitutes some kind of artificial manipu- 
lation for the simple, direct, sympathetic, and intensive 
assimilation of the processes of human experience. The 
only secret of natural expression is life. No two leaves 
of the forest are alike ; no two faces ; no two voices 
are alike. In nature everything has a character of 
its own. In mechanical art, a hundred buttons, a thou- 
sand coins, may be made exactly alike, because they are 
externally and mechanically moulded ; but all natural 
expression is from within outward. It grows from 
cause to effect. To be natural, the reader must have 
something of the freedom and infinite variation of life. 
He must live his passage. 

How can he do this ? By imagination and sympathy. 
The highest characteristic of a human being is the 



SYMPATHETIC IDENTIFICATION 235 

instinct to identify himself with every situation, see 
things from the point of view of others, and share the 
experiences of his fellow-men. The glory of man is this 
altruistic instinct. Sympathy may take many directions. 
Two men may see a large boy knock a little one down 
in the street. One may be led by sympathy to wipe the 
tears of the small boy and help him home. The other 
may take the large boy by the collar and hand him over 
to the police. Both men are moved by sympathy. 
Human beings cannot look on and regard events or 
sufferings indifferently. 

This instinct, or whatever it may be called, which 
leads every one to identify himself with others, and to 
participate in the life of his race, whatever direction it 
may take, gives naturalness and soul to all reading. How 
can a reader repeat the last words of Stephen (Acts vii. 
37-60), recount the Jews gnashing their teeth in rage, 
see in imagination the hurling stones, and hear his last 
prayer, " lay not this sin to their charge," behold him 
gazing up into the face of his Lord and repeat this 
simple, sublime description, " He fell asleep " — how can 
any reader rehearse such events with cold neutrality and 
indifference ! No one can do so without crushing out 
his soul's fundamental instinct of sympathy. Such re- 
pression and cold reading may result from bondage to 
a constricted voice, to abnormal habit, to conventionality, 
or some false idea of reading. 

This sympathetic action of the human soul is usually 
called the dramatic instinct. When this expression is 
used in its deepest and broadest sense, this term may 
not mislead. Dramatic instinct, however, must not be 
understood as mere imitation of the manner of a charac- 



236 THE TECHNIQUE 

ter in direct quotation, but as a name for that universal 
sympathetic instinct by which one soul sees into the 
heart of a fellow-being, creates an imaginative situation, 
realizes some definite point of view, beholds some scene 
or event so vividly as to become a participant and live 
for himself the life of his race. It is that action of 
mind or heart by which every transition in situation 
and feeling is so intensely realized as to cause a change 
in expression. 

The literary or objective embodiment of the dramatic 
spirit has already been discussed ; but command of the 
subjective or psychic dramatic, the instinct of assimila- 
tion, must be carefully studied and practised. 

The dramatic instinct has been so identified with im- 
personation that its psychological nature in the interpre- 
tation of literature should be carefully studied. 

According to the best authorities, two elements are 
found in the dramatic instinct : imagination, by means 
of which the reader or speaker sees a situation or char- 
acter ; and sympathy, by which he relives a scene or event 
and identifies himself with his conception of a fellow- 
being. Imagination and sympathy are always near 
together; but as dramatic instinct they act as one. 

Among the functions of this identifying or dramatic 
instinct is its revelation to the individual of the degree 
of his assimilation. It shows how far he is really living 
a truth. 

Every reader of the Scriptures should carefully study 
the possible gauge of his faculties and powers in read- 
ing. How far does he realize the truth, how deeply 
does it dominate his faculties and powers ? 

Aside from pronunciation, in which man's faculties 



SYMPATHETIC IDENTIFICATION 237 

are more or less negative or inactive, there are many 
degrees or planes of activity. He may read or speak, 
for example, on the commonplace plane. We have a 
business gauge of our faculties. We ask our way, or 
speak to men on ordinary practical matters, and hold 
our deeper sympathies and ideals entirely hidden. Men 
often keep this plane of mere facts, it may be, uncon- 
sciously, even in reading the sublimest passages of the 
Scriptures. Some justify themselves with the idea that 
they are natural, and that to go any farther would be to 
" put on," and become ungenuine and affected. To read 
the Bible or to pray on the commonplace plane is sacri- 
legious. " To speak of God in cold blood " will degrade 
men ; to speak of the most sacred things on the common- 
place plane will not only do no good but do positive 
harm. Spiritual truth is spiritually discerned. A man 
whose nature is awake will not speak of his aspirations 
and spiritual realizations in a cold, businesslike tone. 

On the commonplace plane, man looks on every 
object as a mere thing. A word, idea, or thought is a 
mere matter of fact. All imagination and feeling are 
eliminated. Everything is literal. 

When man begins to see and live for himself the truth, 
he has greater animation, gives more vitality to expression. 
He may rise to the plane of physical earnestness, but this 
is rarely appropriate in the reading of the Scriptures. 

He may give a sentence on a passional or a dramatic 
plane, both higher than the commonplace. He may 
rise still higher to an imaginative and poetic plane. 
But this is not sufficiently high for the reading of the sub- 
limest parts of the Bible. He must rise to the highest 
spiritual plane. 



238 THE TECHNIQUE 

The assimilative instinct, when rightly trained and 
awake, enables a man at once to realize the plane upon 
which a truth should be expressed. Many sentences, 
even paragraphs, of the Bible are upon the common- 
place plane ; but if a reader cannot rise at once to the 
realization of spiritual truth, he will have no power to 
stir the hearts and consciences of his congregation. 

To illustrate, take again the account of the death of 
Stephen (Acts vii.) and first, give all as a mere com- 
monplace statement without sympathy. Second, give it 
dramatic representation and life, and third, give it the 
highest sympathy with a true realization of the signifi- 
cance of the event and its epic character. What a dif- 
ference ! The commonplace makes the passage seem 
cold, almost inhuman. Why then do so many read it in 
this way ? Because of bad habits, of a cramped voice, 
because they do not dare to trust themselves, because of 
conventionality, and the f eeling of intellectual propriety, 
or a realization of the literal place where the reader 
stands, and not an imaginative creation of Jerusalem, of 
the mob of Jews or of the deep significance of Stephen's 
great words or of his death. The dramatic is not satis- 
factory. It is too objective and representative. Noth- 
ing is satisfactory but the expression of the highest 
sympathy and true realization. 

Again, the assimilative instinct enables us to realize 
the character, experience, and mode of thinking of each 
speaker. It gives the reader power to see truth from 
every possible point of view, and to interpret it by its 
relations to different people. This is its primary dra- 
matic function. 

In rendering the parable of the Pharisee and the pub- 



SYMPATHETIC IDENTIFICATION 239 

lican (Luke xviii. 9-14) note the great difference in the 
attitudes of mind when we truly realize the difference 
in their characters. The Pharisee's prayer is a cold, 
formal repetition. We do not allow ourselves even to 
identify ourselves with him. We portray his needs in a 
negative way which shows our disapproval. The word 
poorly translated " stood " means he posed himself. 

Note the marked transition, verse 13, — the deeper 
sympathy and realization of the emotion of the publican. 
We completely and fully identify ourselves with him, 
and yet not exactly in a dramatic way. We become 
almost ourselves, and endeavor to follow his example. 
Then note the quiet dignity with which verse 14 is 
given, — the epic simplicity and judicial dignity of the 
Master. 

Again, assimilation enables us to realize not only the 
right conception of each character, but even the right 
attitude of mind in any clause. For example, in the 
parable of the Prodigal Son, the assimilative instinct 
will aid a reader to realize the curiosity, if not sus- 
picion, of the elder brother as he approaches and 
hears "music and dancing"; it enables him to realize 
that the servant gave the news joyfully, but it also 
enables him in the next clause to put himself as a 
participant in the scene, and see and feel all from 
the highest point of view, and express astonishment 
in repeating the simple words, — but he " was angry 
and would not go in." This is an epic form of the 
assimilative instinct, higher and more important than 
the dramatic. 

One of the most important applications of sympathy, 
though one which is often overlooked, is the passing 



240 THE TECHNIQUE 

from a negative to a positive attitude of mind. This 
contrast should be definitely marked all through " The 
Sermon on the Mount." When not made salient, the 
point of the sermon is lost. All through the fifth chap- 
ter the speaker is negative before the word "but." 
Even in the quoting of the commandments the Master 
is recounting what is negative. At the word "but" 
there is a long pause, and the expression changes in 
giving each positive statement regarding the inner 
Kingdom. 

Again, Matthew vi. 5 is purely narrative, but verse 6 
is a serious and direct expression of one of his most 
profound truths ; verse 7 again is read negatively, it 
condemns and does not express sympathy ; but in 
verse 8 he touches upon a great principle, and posi- 
tively brings it home to the hearts of his auditors. 

This passing from the negative to the positive is not 
merely intellectual, but deeply sympathetic and spiritual. 
It can be interpreted only by the true principles of assimi- 
lation, which give us the key to the highest spirit of 
delivery. 

Let not the reader confine the idea of sympathy or 
dramatic instinct to human beings; there is a most im- 
portant sympathy with truth, for example : 1 John 3, 
" Behold what manner of love," and the following words 
contain one of the most positive statements regarding 
the spirituality of the Christian religion, while the last 
part of verse 1, " The world knoweth us not," is more 
negative, and should be read in contrast. Verses 2 and 
3 are read with great weight ; they are full of depth and 
positiveness. Verse 4, " Every one that doeth sin," has 
a negative movement, changing in verse 5 again to posi- 



SYMPATHETIC IDENTIFICATION 241 

tive sympathy. It is contrasted again with a negative 
statement in the last of verse 6. In fact, all through 
this chapter there is a continual changing from the 
negative to the positive attitude, or from things which 
have been outgrown to positive sympathy and sugges- 
tion of the deepest thought of religious experience. 
The positive and negative must not only be contrasted, 
but contrasted in a way to show that the negative is 
accidental and subordinate, not brought forward for 
sympathetic approval, but only for contrast ; while the 
positive contains the great central truth of the passage 
and is given with the reader's approval and sympathy. 

Notice how the sympathetic or assimilative instinct 
must decide many important questions in the vocal in- 
terpretation of 1 Kings xviii. and xix. We feel the neces- 
sity of sympathy in Elijah's prayer "Hear me, O Jeho- 
vah, hear me that this people may know," for we feel 
Elijah's intensity and passion, his love for his people, 
and his devotion to Jehovah. There is something here 
of the lyric and of the epic, but we are so in sympathy 
with his point of view that there is possibly a predomi- 
nance of the dramatic spirit ; but in the next clause there 
is a far greater call for sympathetic identification with 
the scene " Then the fire of Jehovah fell." The reader 
here must become himself, must realize not the charac- 
ter of Elijah, but the significance of the event itself. 
There must be a long pause, a vivid imagination, and 
such a sympathetic contemplation that the reader re- 
ceives an impression as if he himself saw the falling 
fire. To read this clause as a matter of course with- 
out a change in the sympathetic attitude of the reader 
destroys the impression of the scene. 



242 THE TECHNIQUE 

In the nineteenth chapter, we narrate simply the words 
of Ahab. But the vividness of the scene and the in- 
tensity of our realization cause us to speak dramatically 
the words of Jezebel (v. 2) ; then we indicate our sur- 
prise and regret at his flight. He who faced Ahab 
and all Israel flees from a woman. But we are not 
antagonistic, we have sympathy for him as we see him 
look around and see signs that Israel had not "turned 
their hearts back again " nor learned to " know." We 
describe sympathetically his journey into the wilderness, 
his falling under the broom shrub, and intensely and 
dramatically realize his prayer for death. We linger 
sympathetically over his sleep, and especially over the 
touch of the angel and the food. We are telling of 
providential care. Verse 8 especially is given sugges- 
tively and impressively. Our sympathetic attitude con- 
tinues until we come to the question of Jehovah (v. 9), 
which should be given with great dignity and awe. It 
is the beginning of Jehovah's lesson to His prophet, one 
of the greatest lessons ever given to a mortal, and one 
of the most epic of all passages in literature. The reader 
must give something of Elijah's excitement, intensity, 
and despair; Jehovah's words are again given with deep 
intensity, but with an appeal to the spirit of the prophet ; 
the description of the " great and strong wind " must be 
given with objective force, but there is a marked transi- 
tion to subjectivity and tenderness, with a lower key and 
a total change in atmosphere and color in " but Jehovah 
was not in the wind." This must be given in such a 
way as to suggest that Elijah's method is not the method 
of Jehovah, and that it is not his plan to kill four hun- 
dred and fifty prophets and expect Israel to reform. He 



SYMPATHETIC IDENTIFICATION 243 

is giving a lesson to his faithful servant, who has not 
understood fully the method by which God wins the 
world to Himself. "After the wind the earthquake" 
is given with excitement and animation ; after the word 
" but " again follows a complete change in the attitude 
of the reader from a physical to a spiritual plane. Again 
he reads with outward force, " after the earthquake, a 
fire," and again with spiritual suggestion, "Jehovah was 
not in the fire." Then, with a deep intensity, "and 
after the fire," then after a long pause, "a still small 
voice." This must be a sublime climax, and must be 
felt by the reader to be not only the voice of God, but 
an intimation of the gentleness of His method in dealing 
with man, antithetic to that method which Elijah had 
adopted. This impression must continue through the 
next sentence, " wrapt his face in his mantle and went 
out and stood at the entrance of the cave." 

The question is repeated, "What doest thou here, 
Elijah?" with still deeper intensity. Elijah's outpour- 
ing protest may possibly be softened ; but his words are 
the same. The command in the next words of Jehovah 
to Elijah must be given with tenderness, especially verse 
18, which corrects the mistake Elijah had made. 

Such sublime passages can be interpreted only by the 
sympathetic power of the human soul, this human in- 
stinct that enables every man to imagine and live for 
himself such a scene. The reader must become a spec- 
tator, hear the wind, the earthquake, the still, small voice, 
and feel that all applies to himself. 



XXV. MOVEMENT 

All the modulations of voice are used to express the 
sympathetic instinct ; but point of view, changes in feel- 
ing or experience, character, and attitude of mind are 
especially revealed by variations of the rhythmic pulsa- 
tions or movement. This is the last of the technical 
modulations of the voice, and the most important, but 
the most difficult to explain. It most directly expresses 
the degree and kind of sympathetic identification on the 
part of the reader. 

Movement has been usually considered as a mere 
matter of rate or time. It has been said that whatever 
is of little consequence we pass over quickly and lightly, 
while we linger over that which is important. Move- 
ment, however, does not apply so much to time as to 
rhythm, the measure of time. True movement is not 
the reading of one passage slowly and another quickly. 
A reader may give a trivial sentence slowly without 
changing its triviality ; an important passage may be 
read rapidly while still suggesting weight ; and a weighty 
passage may be read slowly and yet be made to seem 
of no importance. Besides, stupidity and indifference 
move slowly. 

As movement primarily consists of rhythmic pulsa- 
tions, these different aspects may be illustrated by the 
waves rolling upon a beach. If we observe waves roll- 
ing in, we find that they vary in height, in their distance 

244 



MOVEMENT 245 

apart, in the rapidity with which they roll toward the 
shore ; also, in their different actions, forms, shapes, 
or character. Movement in vocal expression has four 
points which correspond more or less to these, have each 
a distinct meaning and in natural conversation are always 
present in some degree. 

What do these aspects of rhythm mean ? 

1. The strong or light force of the pulsation corre- 
sponding to the height of the wave indicates the energy 
of the reader, his intensity, the degree of his earnestness, 
and the depth of his passion. 

2. The long or short rhythmic pulsation, correspond- 
ing to the distance of the waves apart is in proportion 
to the dignity, weight, or the sense of importance of the 
truth. 

3. The slower or more rapid succession with which the 
waves run toward the shore indicates the degree of aban- 
don or excitement ; the superficiality, negation, triviality, 
or the "uncontrolled force of an emotion." 

4. The form or outward action of the energy corre- 
sponding to the shape of the wave indicates the distinct 
character of the energy or the emotion. Thus movement 
expresses the life. As every man walks in accordance 
with his character, as every animal has an action pecul- 
iar to itself, so every emotion or thought has some 
distinct peculiarity of movement. There is a movement 
of sorrow, of joy, of peace, of contemplation, of deep 
thought, of reverence, of awe, of wonder, of excitement, 
of love. The sculptor, Barye, when starting to model 
an animal, would draw a little sketch, and in the first 
line of that sketch was the movement of the animal. In 
the same way movement in vocal expression manifests 



246 THE TECHNIQUE 

the fundamental characteristic of any character, idea, 
thought, emotion, or experience ; in fact, of any word, 
clause, sentence, paragraph, oration, or lesson. 

These four points all go together. Strong and long 
rhythmic pulsations with slow repetition indicate dignity, 
intensity, and control or calmness. Light, long, slow 
pulsations indicate indifference or stupidity. Light, 
short, quick pulsations indicate superficiality ; strong, 
long, quick pulsations, great passion and explosion. 

In every case, the form of the pulsating energy or 
force uniting practically all the elements of vocal expres- 
sion is also present, indicating the distinctive character 
of the experience. 

The inadequacy of time as an explanation of move- 
ment will be apparent to any earnest student. Unless 
the rhythmic pulsations are lengthened, their stroke 
increased, and their character made more salient, slow- 
ness will always be tedious, suggestive of weakness 
rather than of strength, — of stupidity and dulness rather 
than of weight or dignity. 

Again, rhythmic movement may be illustrated by a 
walk. A man may walk with a firm step and firm 
texture of his whole body, with a short stride or with a 
long one. A short stride denotes superficiality or weak- 
ness of intention, while a long stride denotes strength of 
purpose. Either of these may be rapid or slow, the 
speed indicating the degree of excitement, firmness of 
the step or texture of the whole body. This indicates 
the degree of control or intensity of the energy. 

Besides these three which are found in some degree 
in all, every walk has also elements peculiar to the man. 
The feelings, the thought, the present aim, the general 



MOVEMENT 



247 



purpose, the bearing and character of every man are 
shown in his walk. 

The reader must study himself. The only cause of 
movement is the direct sympathetic identification of the 
reader with the life of his thought. No elocutionary 
rules, however plausible, have been adequate. The 
mastery of it requires deep study of a principle, and an 
endeavor on the part of the reader to find the inner 
spirit of the passage, the manifestation of the life and 
movement of his own powers. 

Movement is of great importance in reading the 
Scriptures, because it enables the reader to emphasize 
a whole clause, sentence, or paragraph, and to bring into 
unity all the various parts of a long passage. It is 
practically the only means of revealing the assimilative 
instinct, dramatic action, the epic spirit, or of showing 
that larger relationship and unity between all the parts 
of a story or a succession of scenes. But besides all 
these, it is the important element of naturalness. 

Illustrations of movement faithfully studied and prac- 
tised will be better than discussion to show its nature 
and importance. Forcible examples of various forms of 
rhythmic pulsations are found everywhere. In fact, 
there is no change in situation, point of view, and espe- 
cially in sympathetic identification or manifestation of 
life, without the presence of movement. The reader 
should review his favorite passages of Scripture and 
note the presence of movement in every clause. He 
will find where movement is all alike there is a total 
lack of character and genuineness. Movement is the 
most fundamental element of delivery. It is never 
absent when speech is the natural outpouring of a 



248 THE TECHNIQUE 

living heart. Search back into all illustrations, con- 
trasts, or changes, and movement will be found every- 
where a necessary element ; but in all cases it expresses 
the sympathetic identification of the reader with a truth, 
situation, or event, or with the thought and life of a 
character. 

The Bible is full of comparisons and illustrations. It 
is one of the necessities of language and literature to 
use a familiar fact to throw light upon a less familiar 
truth. By change of movement, one clause can be shown 
to be illustrative and secondary, and another the central 
idea. However beautiful a figure may be, except where 
the figure and the thought are combined in one as in the 
parable, the central thought is most important. 

Movement not only shows the opposition between the 
illustration and the thought, but enables the reader to 
show the relation of a long extended illustration or 
series of illustrations to the great central thought ; for 
example : in i Corinthians xv. 35-49, Paul starts off with 
a question, which some of his readers or hearers raised, 
naturally, as to how the body is raised, and after a 
serious answer to them he immediately passes to illus- 
trations, first of the seed, which is shown by emphasis 
on " sowest " and quick movement, and so on to 
"flesh," " celestial bodies," "sun," "moon," and "stars." 
His illustrations last through the forty-first verse and 
should be given with great saliency and a certain ani- 
mation and coloring of objective things; but in verse 
42 the movement should be very slow and intense. 
This is the central theme and that toward which all his 
illustrations have pointed. The reader must mark this 
by great transitions not only in key and color but espe- 



MOVEMENT 249 

cially in movement ; in this way only can he reveal 
the argument or the broader relationship of the whole 
passage. 

Again, wonder causes strong, slow, rhythmic pulsa- 
tions. In rendering the healing of the ten lepers 
(Luke xvii. 11-19), the little clause "and he was a 
Samaritan " awakens astonishment, which may be ren- 
dered by a long pause after " and," and the rest be given 
with stronger rhythm and with change of color, pitch, 
and especially movement. 

A miracle which is a wonder is thus indicated by slow 
movement. In the stilling of the tempest (Matt. viii. 
26), to give " and there was a great calm " with collo- 
quial or narrative movement would indicate that it was 
a mere matter of course and awaken no surprise. This 
would pervert the whole spirit of the passage. On the 
contrary such a clause as "when he was entered into a 
boat " or " when he was come to the other side " should 
be given with light, quick, rhythmic pulsations for the 
sake of contrast. 

Note in the journey to Emmaus (Luke xxiv. 13-35), 
verse 31 is given an abrupt and excited movement in 
sympathy with their astonishment, with a pause after 
every phrase. Note also the great decision of the 
touch, "and their eyes were opened; and they knew 
him, and he vanished out of their sight." 

Wonder lengthens, strengthens, and retards the pul- 
sations. For example, in Ezekiel xxxvii. 1-10, the 
rhythm of verse 1 is ordinary, while quotations from 
Jehovah are full of weight and dignity, and therefore are 
given long and strong pulsations. Verse 7, " So 
prophesied as I was commanded," is a simple statement, 



250 THE TECHNIQUE 

and is given rapidly as a matter of course, but in the 
next clause the rhythm begins to change on account of 
the surprise and the wonder at what happens, and 
" Behold an earthquake and the bones came together." 
Then the reader changes to quicker movement as indi- 
cating nothing of importance as he prophesies unto the 
wind until the " breath came into them and they lived 
and stood upon their feet, an exceeding great army." 
This is given very slowly as the expression of awe. 

Approval is shown by slow, long, and strong rhythmical 
pulsations ; disapproval by light, short, or quick pulsa- 
tions. The supposed quotation in James i. 13, "Let no 
man say when he is tempted, ' I am tempted of God,' " 
should be given rapidly, because it is not given with 
approval ; but the following words, because " God can- 
not be tempted with evil," should be given very slowly, 
with weight, because it expresses what the writer really 
approves. Again, in James ii. 3, the quotations are so 
read as to show a disapproval of such treatment of the 
poor, " Stand thou there or sit under my footstool; " also 
the other, "Sit thou here in a good place," unless we 
render the passage very dramatically and take on the 
condescending attitude and dramatically express their 
subserviency. Most quotations are given stronger 
movement than mere explanatory clauses, because they 
are usually of greater weight and interest, but this is 
not always true ; epic emphasis may reverse it. 

The reader must be careful not to turn any principle 
into a rule. For example, the question of the disciples, 
" Dost thou at this time restore the kingdom to Israel ? " 
(Acts i. 6). We disapprove of this question at the 
sublimest moment of the Ascension, and if we follow a 



MOVEMENT 25 I 

rule that what we wish to " disparage " we read more 
rapidly, we would give this very quickly. But this 
question was a most serious one to those who asked it. 
And if we enter into sympathy with them or give it 
with the dramatic spirit, we should read the question 
very slowly. Thus all must depend upon the point of 
view. No rule can be laid down. Again, we may give 
something we disapprove with great regret and this 
would cause slow movement entirely independent of 
disparagement. 

Note the relation of movement to parenthesis ; it is an 
old rule that parentheses ought to be read quickly and 
on a lower pitch. This is not necessarily true ; we must 
find a deeper principle in the approval or disapproval, 
the relative weight or importance of what is in the 
parenthesis. In Galatians i. 1, " Paul, an apostle, and 
all the brethren which were with him," is separated by 
the parenthesis which marks the deep throb and spirit 
of the whole epistle. Paul had been disparaged to 
these Christians ; and this parenthesis expresses in 
strong, long, slow rhythm his divine authority, " Not 
from men, neither through men, but through Jesus 
Christ and God the Father, who raised him from the 
dead." As a parenthesis, rhetorically, this is, of course, 
subordinated, but in vocal expression it must be given 
with great saliency and weight. The slow movement 
begins again in verse 3 ; in the second chapter of this 
epistle, verse 6, we have a parenthesis which is of less 
importance, while that in verse 8 is more important and 
should be read with slow movement. In Ephesians ii. 
4-6, the thought flows along smoothly and naturally, 
but suddenly we find a little parenthesis, " By grace ye 



252 THE TECHNIQUE 

are saved," which is of more significance than the rest of 
the passage. 

Movement is necessary to interpret similes and meta- 
phors : " I will be as the dew unto Israel." " He shall 
blossom as the lily, and cast forth his roots as Lebanon ; 
his branches shall spread and his beauty shall be as the 
olive tree" (Hosea xiv. 5-8). Here we linger with 
delight over the greatness of the promises and the 
beauty of the pictures, and of course show this by the 
movement. But there are often passages, such as Isaiah 
xl. 15, " Behold the nations are as the drop of a 
bucket and are counted as the small dust of the balance ; 
behold he taketh up the isles as a very little thing." 
All these figures show the triviality of earthly things as 
compared with the character of Jehovah, and should be 
given with light, short, quick rhythm, while the verses 
immediately before and following are given with strong, 
slow, long pulsations, to suggest the greatness of Jeho- 
vah in comparison. 

For such contrasts, changes in the rhythmic move- 
ment are absolutely necessary. 

Occasionally such similes, because beautiful in them- 
selves, are given by careless readers very slowly, as 
Hosea xiii. 3, "They shall be as a morning cloud and 
as the dew that passeth early away." These similes are 
spoken of in condemnation of Israel, and should be read 
in quick pulsations, which may be vigorous on account 
of the emotion. 

Again, metaphors show the same principle. In Prov- 
erbs i. 9, the figurative expressions "an ornament of 
grace unto thy head " and " chains about thy neck " are 
given- with the movement of weight. Figurative ex- 



MOVEMENT 253 

pressions should be set off by pause from the main 
thought. At times these greatly aid the hearer to 
realize the force of the figurative language, and the 
figure which is given individuality and unity by 
movement. 

In Luke ii. 41-52 the words of the narration are simple, 
and should be given with light, quick movement. Verse 
48 must be given with change of melody and color, but 
not with great weight and with no indignation. It is a 
very ordinary question, but his answer in verse 49 must 
be given with strong, long, slow pulsations, on account 
of the intensity of feeling, or possibly because weighted 
with a higher suggestion. " How is it that ye sought 
me? knew ye not that I must be in my father's house?" 
Some, however, may regard these words as simply say- 
ing, " Where else should you search for me ? You know 
naturally the place where my interest is centred." This 
is a thoroughly natural and childlike answer. To others 
the words are suggestive of the coming of Jesus to the 
consciousness of his mission. The reader must decide 
and not leave such questions in doubt. Movement must 
give everything a definite character. 

Transitions from one character to another in dialogue 
are often found. What a strange contrast do we meet 
between Christ and the woman of Samaria ! (John iv. 
See page 182.) There is here not only a transition from 
one to another, but a gradation, especially in the words 
of the woman, who at first is flippant, and at last seri- 
ous. His quiet request, " Give me to drink," is opposed 
by her question and her attitude of surprise that a Jew 
should ask such a thing of a Samaritan. The words of 
Jesus also become more intense as He penetrates below 



254 THE TECHNIQUE 

her superficiality, and speaks of the " living water/' 
Her feeling and attitude are totally different in verses n 
and 13. The Master comes back with slow and meas- 
ured seriousness, up to the climax "eternal life." She 
is still superficial, and her flippant mood must of course 
be delicately suggested by the reader. Then the Mas- 
ter appeals to her conscience, penetrates deeper, and 
probes a wound, " Go call thy husband." Then she 
becomes more serious, but she still attempts discussion 
and debate, now of national prejudice. ' Then follow the 
serious words of the Master, one of His most important 
teachings. To these succeed the deeper longings of the 
woman for the " Messiah," and last of all the wonderful 
self-revelation of the Master. The spirit of the passage 
demands that the gradual transition in her thought 
should be shown. The attitude of the Master is pos- 
sibly little changed from first to last. A measured 
dignity must be maintained, as it gives epic grandeur to 
His words, but the dramatic spirit is concerned more 
with the woman. Even in her case it must not go to 
an extreme. We can easily imagine the way she said, 
" Give me this water, that I thirst not, neither come all 
the way hither to draw." But to portray the extreme 
dramatic representation of her attitude in these words 
would hardly be possible in any ordinary Scripture 
reading. 

The slow and measured words of the Master in John 
xxi. 15-18, His deep appeal to Peter, who had gone back 
to his fishing, mended his old boat, and is now wavering 
on account of his disappointment, are strongly contrasted 
with the quick and impulsive movement of Peter's pro- 
test. The Master's words must have stirred to the 



MOVEMENT 255 

death the soul of Peter and lingered with him through 
the long days of waiting. The movement of these 
words must be very slow, with long pauses, and 
intensity of touch, suggesting the longest pendulum 
possible to human expression, while Peter becomes 
more and more intense and excited and, of course, rapid 
in his protestations. 

The retarding of movement plays a great role in the 
interpretation of the Bible. Regret, sympathy, pity, 
all are shown by increasing the pauses and changing 
the strength and length, as well as the rapidity, of the 
rhythmic pulsations. Who, for example, would read 
with a mere matter of course movement the account of 
the death of Ananias and Sapphira (Acts v. 1-11) and 
not express a certain awe by a change in rhythm in 
reading, " and she fell down immediately " ? 

Movement is not shown merely by contrasts or sud- 
den breaks in feeling, for there is a primary movement 
in every clause or passage which directly expresses its 
character and life. For example, note the movement 
of the Passion, revealing itself in vividness of imagery ; 
and consider the passionate abruptness of the words in 
the Song of Triumph in crossing the Red Sea and the 
effect of the realization of this spirit upon the voice 
modulations of the reader. 

Such a sublime clause as that in Deuteronomy xxxiii. 
34, "underneath are the everlasting arms," is not merely 
emphatic in contrast with previous sentences, but the 
reader lingers over the significance of the figure, realizes 
the omnipotence and omnipresence of Jehovah, and uses 
a peculiarly slow movement, which concentrates for a 
time the energy of thought and feeling in this clause. 



256 THE TECHNIQUE 

One of the greatest functions of movement is to bring 
a whole lesson into unity. In union with range of voice 
and tone-color, movement can bring a long passage into 
unity so as to produce one strong impression. 

For example, we have a fine gradation of movement 
in the story of Zacchaeus, Luke xix. i-io. The first 
verses are narrative, are given with light, quick move- 
ment, until the Master says, with strong rhythm, "come 
down, for to-day I must abide at thy house." There 
is a movement of murmuring and antagonism in 
verse 7, contrasted with the dignified but humble speech 
of Zacchaeus, verse 8, while in verses 9 and 10 the 
Master's rhythmic pulsations grow stronger and slower, 
with longer pauses. 

Notice, also, how the parable of the vineyard, Mark 
xii. 1-12, is set off with a long pause from the introduc- 
tory sentence of the writer, and another at the close of 
the ninth verse. The Master must have paused impres- 
sively before He asked the question, and then changed 
His movement. The illustration in verses 10 and 11 
also has a different movement as He passed from His 
parable to the application. But the greatest change is 
at the twelfth verse, in the return to the narrative 
spirit of the introduction, thus bringing the whole into 
unity. 

Movement is so complex and mystic, and so often 
misunderstood, that the reader is liable to neglect it. 
He, however, who will take the pains to study it and 
find in himself what it means, will be rewarded with a 
power in expression and a revelation of possibility in his 
voice of which he never dreamed. Action is a necessary 
expression of life. Language is necessary to an under- 



MOVEMENT 257 

standing even of feeling. He who studies the dramatic 
power of movement will accordingly be rewarded with 
deeper and truer understanding of his own nature, and, 
especially, of the action of his sympathies as well as 
command of the deepest and most important element in 
delivery. 



XXVI. CORRELATION OF THE VOICE 
MODULATIONS 

The six technical elements of vocal expression, pause, 
touch, change of pitch, inflection, tone-color, and move- 
ment, are so few in number, simple in character, and 
delicate in meaning, that there is a universal tendency 
to slight them. Indeed, some of them are entirely over- 
looked. One reason for this is that they occur simul- 
taneously, and to accentuate one of them beyond the 
possibility of union with the others constitutes a serious 
fault. Naturalness must always consist in the harmoni- 
ous union of them all. 

The reader of the Scriptures must study their rela- 
tions to one another and their union, and become con- 
scious that they are simultaneously caused by the 
thought or feeling, as the leaves and flowers of the 
plant grow out of the parent stem. He should note 
that all faults of vocal expression result from their 
wrong use, their wrong coordination, or the exaggera- 
tion of one at the expense of others. The nobler the 
vocal expression, the greater the unity and coordination 
of all these modulations. 

It is highly important to note some of the relations 
of these to one another, for as all the variety of colors 
in the world depends upon the combination of the few 
primary colors, so all the effects of vocal expression 

258 



VOICE MODULATIONS 259 

depend upon the simultaneous union of these funda- 
mental modulations. 

Note the relation of pause to change of pitch. Pause 
is an element of rhythm, change of pitch an element 
of melody. If we pause without change of pitch, we 
show hesitation. If we change pitch without pause, 
chaos follows. Together they coordinate rhythm and 
form, force and thought, attention and discrimination. 
The degree of change of pitch must justify the length 
of the pause. 

Again, note the relation of touch to inflection. Touch 
is an element of rhythm; inflection a primary element 
of form ; and the union of these two coordinates the 
control of force, and concentration of the mind, with 
the reader's attitude toward the truth, or his audience, 
or the relation of one idea to another. Whenever touch 
and inflection come together we feel the centre of atten- 
tion, and at the same time the mental attitude. Not 
only do these come together — to the ear they are 
always united — it is difficult to separate them. Reci- 
tative in music is touch without inflection. There can 
hardly be such a thing as inflection independent of 
touch in natural speech ; but each can be accentuated, 
and they are distinct in meaning. Touch manifests the 
decision of execution, the definiteness of conviction, the 
control of feeling, breath, or the vocal conditions by 
the will. Touch shows the specific centre and focus of 
the attention, while inflection shows the relation of those 
centres to purpose, to other ideas, and to the whole 
situation. 

The relation of inflection to color should be noted. 
Here we have the union of thought and feeling. Where 



260 THE TECHNIQUE 

feeling usurps the place of thought, we have sing-song, 
or some form of " ministerial tune." Where thought 
usurps the place of feeling, we have an entire absence 
of color in the voice. Hegel says that " a strong man 
is one whose thought and emotion are balanced by will." 
" The consentaneity of thought and feeling," to use 
Professor Dowden's word, is the chief element, not only 
of all true eloquence and art, but especially of nobility 
in vocal expression. 

Observe the relation between pause and inflection. 
As inflection is a most intellectual method of emphasis, 
an emphatic pause introduced after a long inflection 
unites with this a deeper contemplation, and thus gives 
greater dignity and weight to this otherwise coldly 
intellectual and didactic method of emphasis. Color 
may also be used simultaneously, expressing many 
shades of imagination and feeling. An emphatic pause 
follows the emphatic word, and when followed by sub- 
ordination may be given with great effect in the very 
midst of a phrase ; but without salient inflections, with- 
out change of pitch and subordination of form, such a 
pause or any extreme modulation of color would be not 
emphatic but chaotic. 

The last element of vocal expression that has been 
enumerated is movement, or the expressive modulation 
of the rhythmic pulsations. Movement displaces no 
other expressive element, but coordinates with all, caus- 
ing their accentuation and higher unity. In fact, it 
makes the other modulations of the voice freer and 
more expressive. The highest plane of movement is 
such a mysterious union of all elements of expression 
that they are lost in the natural and noble interpretation 



VOICE MODULATIONS 26 1 

produced. It is the supreme element of harmony, yet 
like all true elements of harmony, it hides itself and is 
apt to be overlooked. 

All the elementary modulations are mutually helpful, 
in fact, essential to one another. They blend as har- 
moniously as the features of the face, and when one is 
isolated or omitted, the harmony, naturalness, expres- 
siveness, and beauty of all are destroyed. As will 
be shown later, we have here a test of the dignity, 
naturalness, and nobility of these elements and of their 
elemental character. To many, loudness is one of the 
most important elements of expression ; they consider it 
the indication of earnestness. But we find it will not 
combine with other modulations. It eliminates touch, 
change of pitch, inflection, color, and movement, and 
renders every other modulation, except in a crude 
degree, impossible. It must thus be recognized as a me- 
chanical or abnormal element of delivery. The degree 
of loudness is determined by the size of the audience 
or the demonstrativeness of the speaker. It sometimes 
measures the degree of abandon to animal impulse, and 
is nearly always a sign of physical extravagance and 
chaos. 

Other things being equal, dignity of expression and 
earnestness must be obtained by inflection, change of 
pitch, — that is, by increase of range, — and by pause 
and touch, the rhythmic elements of expression. 

These elements of delivery are legitimate and normal, 
for any one of them can be enlarged and accentuated 
to any degree in sympathetic union. A more decided 
touch, a longer inflection, an emphatic pause, a slower 
movement, and a more intense texture and color, — 



262 THE TECHNIQUE 

these show how crude and immature are loud, short, 
and sudden explosions. This is especially shown us 
in Bible reading. Here we feel the lack of dignity of 
declamation, its unnaturalness, its lack of impressive- 
ness — in fact, its power to degrade and destroy every 
noble impression. 

In fact, there are two kinds of earnestness : energy 
of body, which may be shown by loudness, and inten- 
sity of thought and feeling, sincerity and weight of 
ideas, revealed by coordination, accentuation and higher 
union of the simple modulations of everyday speech. 

The harmonious coordination and right use of these 
primary modulations of the voice may be better under- 
stood by some studies into the nature of emphasis. 

The word " emphasis " has been used in many senses. 
To some it is a synonym of all expression. This view 
naturally arises from the fact that emphasis is at pres- 
ent the only universally recognized element of delivery. 
Others use the word loosely for the giving of any word 
or phrase greater prominence by any means whatever. 
To still others it means the modulation of inflection, in 
order to show the essential meaning or argument of 
a passage. The word is overworked in elocution, and, 
owing to its extravagant, one-sided, or perverted use, 
the real meaning of emphasis has been lost. 

Is the real nature of delivery understood, even by 
educated men ? The pride some scholars take in their 
poor delivery seems to indicate a doubt. Some have so 
little grasp of its fundamental principle that they still 
regard it as a matter of imitation. Truly, ours is not an 
artistic age, nor are our universities homes of art. 

If the nature of vocal expression were adequately 



VOICE MODULATIONS 263 

realized, there would be a word for the idea of making 
salient the centres of attention in each phrase ; another 
to manifest the greater centres in sentences and para- 
graphs, or for the leading points in the argument ; and 
still another word to stand for increase in the degree of 
saliency of any specific idea. " Emphasis " has had to 
serve for all these, and often for all other ideas of delivery 
as men have understood or misunderstood them. 

If the use of the word " emphasis " is vague, when we 
come to study definitions of emphasis we are still more 
in confusion. It is defined as " a greater stress of voice 
placed upon a word or syllable." This implies that 
touch is the only method of emphasis. All systems of 
elocution have made some one element of expression — 
with some it has been inflection, with others stress — 
the exclusive method. 

Emphasis, from the origin of the word, and its use in 
everyday life, seems to refer to an unusual prominence 
given to a word or idea, a sentence or thought ; and this 
prominence is given it by the accentuation of some one 
of the primary modulations of the voice, or some com- 
bination of them. Methods of emphasis, therefore, are 
practically infinite, and should be studied in connection 
with the proper coordination of these primary modula- 
tions. The student should endeavor to accentuate each 
of these in isolation, to gain a sense of the distinct value 
of it, and then he should practise accentuating it in 
union with all these modulations in various degrees, that 
he may feel something of the expressive power possessed 
by the human voice. 

True prominence or emphasis is given to a word or 
an idea by some accentuation of one of these primary 



264 THE TECHNIQUE 

modulations. Any one of them may at times be made 
extremely pronounced without destroying their harmo- 
nious union or naturalness. 

There are certain natural combinations of these modu- 
lations ; for example, pause and touch are elements of 
rhythm, and the accentuation of these expresses and 
accentuates rhythmic pulsations of thinking. 

The union of inflection and change of pitch constitutes 
speech-form or melody. The accentuation of this natu- 
ral conversational form, that is the extending of it 
through a greater range of voice, the making of the 
central inflection long and increasing the changes of 
pitch, constitutes the chief intellectual method of em- 
phasis. It appeals to the understanding. It affirms, 
not only the concentration of the mind upon each idea, 
but shows the relation of one idea to another, or of the 
thought to the speaker's convictions, or to his purpose. 
It will, of course, be necessarily united with some ac- 
centuation of the pause and touch. It can, however, be 
accentuated without any unusual increase of these other 
elements. 

Again, each successive form or phrase can be greatly 
separated from the preceding by pitch, and the various 
conversational forms be given in various parts of the 
voice in such a way as greatly to extend the range of 
the voice. A modulation of these gives emphasis to the 
argument, to the real central thoughts or points, gives 
the relative value to ideas and great intellectual inter- 
pretative value. 

Color and movement deal more with imagination, 
feeling, and the deeper sympathies. These can empha- 
size changes in situation, point of view, character, and 



VOICE MODULATIONS 265 

show a sudden transition of passion, and all the varia- 
tions of experience. They serve especially to give the 
atmosphere and movement of a whole passage. Both 
rhythm and melody should be emphasized, not only by 
increasing the pauses and the rhythmic pulsation, but 
by introducing emphatic pauses after an emphatic word 
with a still greater subordination of the subordinate 
clause which follows. This adds to the cold, intellectual 
emphasis of inflection an element of dignity and weight. 
The emphatic pause is meditative and spiritual, and is 
of great importance to the interpreting of a scriptural 
passage. Again, we may say that the union of color 
and movement with this is absolutely necessary. 

The introduction of color expresses the presence of 
imagination and the higher feelings, and movement a 
deep sympathetic realization of the character and life, 
without interfering with the emphasis of the thought. 

It is unnatural to individualize and overwork some 
one element, like stress or inflection, as is nearly always 
the case. 

The primary method of emphasis in conversation as 
seen in individual phrases is the accentuation of the cen- 
tre of attention by increasing the length of the central 
inflection. We have already found that the centre 
of attention is marked by change in the direction of 
inflection. Unusual importance may be given to this 
by increasing the length of the inflection. 

Side by side with this length of inflection, either be- 
fore a word or more often after it, in the very midst of 
a phrase a pause may be introduced by the reader for 
the sake of still greater emphasis. Extension in time 
by the emphatic pause appeals to the imagination, and 



266 THE TECHNIQUE 

secures a fuller perception of the importance of an idea. 
An inflection may be lengthened to dominate intellec- 
tually another's attention, and may be undignified ; but 
the extension of the pause can hardly be undignified, 
for it accentuates spiritual weight. For this reason, it 
demands serious consideration from the Bible reader. 

Again, there may be an unusual change of pitch. A 
reader or speaker may give a wider range of voice in 
speaking a single phrase, but more especially in a suc- 
cession of phrases, by a great increase of sound and 
change of key. 

Change of pitch and increase of the range of voice, 
united to decision of touch and straight inflections, form 
the most dignified and rational method of emphasis. It 
must accompany all others. No other, such as color, 
pause, change of key or movement, must displace it. 

An unusual change of key, indicating a sudden and 
extraordinary transition in thought, situation, or feeling, 
is important and very frequent in reading the Scriptures. 
For example, in passing from any one of the speeches 
in Acts to the descriptive clause following, there is such 
an unusual change. 

In such cases, practically all the modulations change, 
but the change of key is perhaps most important. Un- 
less the reader can command this, he is very sure not to 
change movement or color. Usually also an unusual 
change of pitch is associated with an unusual pause. 
There seems to be an instinctive proportion between 
different modulations. 

Changes in feeling, imagination, or situation are natu- 
rally emphasized by changes in tone-color. Unhappily, 
changes in resonance are unusual among preachers. 



VOICE MODULATIONS 267 

The cause of this may be lack of imagination, of refine- 
ment, of culture, or of spiritual feeling ; but more 
frequently it results from lack of control over emotion, 
or command over the voice, or is due to mere habit. A 
command of vocal coloring means a command of feeling 
and imagination. It will not introduce nor cause a min- 
isterial tune ; but when combined and coordinated with 
form, will correct the ministerial tune. 

Tone-color is occasionally used to give emphasis to 
an individual word. For example, when Mary Magda- 
lene was standing at the tomb weeping, and some one 
spoke to her, " She, supposing him to be the gardener " 
(John xx. 15, 16), poured out her grief: "They have 
taken away my Lord, and I know not where they have 
laid him." With a total misconception of her Master, 
of her own low condition in common with the disciples, 
she is suddenly awakened to a realization of the truth 
by the Master's utterance of the one word " Mary ! " 
Perhaps the adequate expression of this one word is the 
most difficult problem in the vocal interpretation of the 
New Testament. There is no modulation of the voice 
which can in any sense give its wonderful significance 
except tone-color. Our sympathetic realization of His 
appeal, His call awakening her deeper faith and spirit 
from its material sorrow over a material body which she 
had called her Lord, to a higher spiritual truth and 
sense of the Divine, can be indicated only by the diffu- 
sion of emotion through the body, by the softening of 
the texture of the muscles. The whole man, in short, 
spirit, soul, and body, must be modulated to afford the 
least suggestion of even our sense of the meaning that 
lies back of the word. 



268 THE TECHNIQUE 

Hardly less difficult, and hardly less forcible as an 
illustration of tone-color, is her answer, " Rabboni ! " It 
was an awakening of soul possibly more important than 
the awakening which took place when the devils were 
cast out of this woman who has been considered by all 
as a typical example of an awakened and reclaimed soul. 

Such cases, however, are not frequent. Less than 
any other modulation of the voice is tone-color used to 
express or to impress the force of an individual word. 
Its chief function is to show the atmosphere of the 
whole situation, the general current and transition of 
feeling, the deeper shades and changes in the most 
spiritual emotion. 

Movement, or the modulation of rhythm, is one of the 
most important of all methods of emphasis. More than 
any other modulation, it can show the relative impor- 
tance of different clauses and even paragraphs. It ex- 
presses the action or character of a whole passage or 
book. It can make one sentence stand as the climax 
of a whole address, the fundamental proposition in a 
long discussion, or the chief event in a story. 

In the story of the healing of the ten lepers (Luke xvii. 
11-20) the ordinary narrative spirit is present, but after 
the account of the only one who returned and fell upon 
his face to give thanks, we have a little clause, " And he 
was a Samaritan." This is doubly suggestive and im- 
pressive. With a long pause after the word "and" 
the whole clause should be given with a movement of 
surprise, and in this way the important statement can be 
emphasized ; otherwise it is likely to be overlooked. An 
emphatic pause, such as that after the word "and," is 
usually associated with change of movement. 



VOICE MODULATIONS 269 

Without the power to change movement, readers are 
liable to give the fact that John was dressed in camel's 
hair, and ate locusts and wild honey, the same importance 
as his message, " Repent, for the Kingdom of Heaven 
is at hand." 

Color and movement always go together, and thus 
form the highest, though most frequently forgotten, 
elements in expressing or emphasizing the spirit of a 
whole passage. Together they can be used to bring 
harmony out of variety. Ideas which may seem chaotic 
may be brought into unity on the one hand ; and on the 
other, in what seems a monotonous and prosy statement of 
facts, deeper and sublimer contrasts may be shown. 

Thus any modulation of the voice may be accentuated 
for the purpose of emphasis. As the function of each 
modulation of expression is different from those of all 
others, so the accentuation of each one, for the purposes 
of emphasis, causes a different impression. As all these 
elements are coordinated in ordinary expression, they 
are coordinated also in emphasis, although emphasis 
may be the accentuation of some one of them for the 
purpose of increasing an impression or awakening a 
new aspect or point of view toward the truth ; still 
this accentuation of any one of these does not elimi- 
nate the others ; in fact, as a rule some of these are also 
necessarily accentuated. 

We find inflections especially accentuated in every 
one of them, on account of the increase of thinking in 
any higher or deeper realization, even of feeling. The 
touch is also more decided and vigorous, since where 
there is an increase of impression and feeling, there 
must be increase of control. The pause is nearly always 



270 THE TECHNIQUE 

accentuated, because to receive a higher and more forci- 
ble impression requires more time. Color and movement 
are also accentuated in every case, because to accentuate 
impression means to awaken a deeper emotion and to 
increase the importance of the ideas. 

In reading the Scriptures, the chief danger in the use 
of emphasis is the overworking of some one "pet" 
method. There is no reading which more demands the 
entire gamut of vocal expression. Too frequently, in- 
flection is the only form of emphasis. This may cause 
the reading to be clear, but inflection alone is cold and 
hard. The deeper feeling, the imaginative and emo- 
tional elements, are not manifest. A reader of the 
Scriptures must live his passage ; every faculty and 
power in him must be awake, and every modulation of 
voice must be at his command for any degree of accentu- 
ation or combination. 

Different combinations of modulations are often re- 
quired to express abrupt transitions in thought or emo- 
tion. These always have great change of key, contrast 
in tone-color, and decided variation of movement with 
other changes. On account of the salient accentuation 
and union of several elements, practice of such transitions 
will bring these elements to the consciousness of the 
student. On account of the universal tendency to fail to 
realize changes in thought and feeling, or to have the 
imaginative insight and sympathetic or dramatic identifi- 
cation with the real life of the situation, such practice is 
one of the simplest and most effective means of securing 
self-command. There is also danger at such times that 
many will render such transitions chaotically, that is, in 
making such changes fail to preserve harmony in the 
midst of sudden opposition. 



VOICE MODULATIONS 271 

The reader should carefully study and observe in 
practice each of the following transitions, and arrange 
many others. In silent reading the reader is apt to 
overlook transitions entirely, and the same is true of the 
ordinary negative and unsympathetic calling of words 
which is called reading. Even a good reader must note 
that his life and earnestness tend to cause him to break 
over these transitions. Hence he should need to make 
as long pauses and as extreme contrasts in thought, 
feeling, and the modulation of his voice as possible. 

The primary law governing all transitions is that 
whatever change takes place in feeling or the actions 
of the mind, should be shown by some corresponding 
change in the modulations of the voice. As there is 
nearly always the initiation of a new point of view, the 
picture of a new scene or marking of a new line of ex- 
perience, there is special need for the accentuation of 
the primary, mental, or imaginative actions of the mind. 
A new line of thought must be made especially salient 
to the audience, or it will be lost. Transitions are thus 
the test of the reader's appreciation of the real spirit of 
a passage, and his power in expression. 

Transitions are especially important in the Bible on 
account of the frequent and abrupt changes. Extreme 
changes in thinking and human experience are often not 
indicated in any way. These show the importance of 
the assimilative instinct, and demand serious study. 

One of the most frequent transitions is from explana- 
tion or description to quotation. The first verse of 
Isaiah, for example, is only an editorial note about the 
author, while verse 2 begins the prophet's great arraign- 
ment of the chosen people. What can be more misleading 



272 THE TECHNIQUE 

than to read these verses alike ? Jeremiah i. 1-3 is a 
similar editorial note, while in verse 4 Jeremiah begins 
the account of his call. To overlook such transitions 
makes all true emphasis or true expression impossible. 

What a sudden transition is found in Acts iv. 12, 13 ! 
The effect of the vigorous words of Peter are revealed 
in the thirteenth verse, which should be suggestively read 
with strong movement, with the deepest significance of 
this memory of the manner of the Master. 

An important transition is often overlooked in Acts 
i. 9 ; Jesus' farewell words should be given intensely 
and with exaltation, then comes His ascension before 
their very eyes. Strong, long, slow movement, tender- 
ness and color, low pitch, characterize the climax " And 
the cloud received Him out of their sight." 

It is very important to give the explanatory clauses, 
introductory to the Master's words, with a light, quick, 
familiar rhythm, that the greater weight may be shown by 
a strong, rhythmic accent. Note in Matthew xi. 1-6, for 
example, what simple and familiar inflections, touches, and 
rhythm (vs. 1-3) ; but in the fourth verse, what changes 
in coloring, intensity of rhythm, and all the modulations 
begin with Jesus' tender words, " Go and tell John the 
things which ye hear and see." How often in the Bible 
do we find transition from one character to another! 
For example, in John viii. 12-59, what decided opposi- 
tions in movement, color, pitch, and form, between the 
sneering and angry speeches of the Jews and the 
weighty, suggestive words of the Master! 

By transition in movement, color, and pitch, the 
reader may also show just where a quotation ends. 
This is often an important and difficult point. For 



VOICE MODULATIONS 273 

example, in John iii., there is a dispute amongst scholars 
at what point Christ's speech to Nicodemus ends. Many 
regard the sixteenth verse as beginning a discussion by 
the writer of the book. After the reader has decided 
where the quotation ends, he can indicate its close by a 
long pause and a transition. In James ii. 18, "Thou 
hast faith and I have works," is the whole of the quota- 
tion ; the next is by James himself, but it is often read as 
if the whole verse were quoted. The quotation can be 
easily indicated by a pause before and after it. Changes 
in voice will also indicate the next, " Shew me thy faith 
without thy works, and I will shew thee my faith by my 
works." When once a reader studies the sympathetic 
action of his mind, the method of identifying himself 
with the thoughts and feelings of others and the facility 
with which the modulations of the voice can suggest 
these, quotations can be indicated with great ease. 

Another common transition is the passing from an 
illustration to the thought illustrated, or from an illus- 
tration to its application. Note, for example, in James 
iii. 3, the illustration is first of a bridle, in verse 4 " a 
rudder " ; verse 5 contains the central thought, and de- 
mands emphasis, especially upon the word " tongue." 
In the last part of verse 5 an illustration of fire is used, 
which, of course, should be given rapidly, while verse 6 
is given slowly and weightily ; in verse 7 the illustration 
is of beasts and birds ; while verse 8 returns again to 
the central thought ; and again, as in all the other re- 
turns to the central thought, the word "tongue" is anti- 
thetic to the objects used in illustration and decidedly 
emphatic. Illustrations and the central thought are 
united in the question about fountain and fig tree and 



274 THE TECHNIQUE 

salt water, which makes these more important; verse 13 
is also serious and in contrast, and demands great 
emphasis on the word " life." 

Changes from thought to illustration, or the reverse, 
are very often not even hinted at in the ordinary care- 
less reading of the Scriptures. In Matthew vi. 11, 23, 
the talk about the eye as "the lamp of the body" and 
its singleness is merely an illustration, — an illustration of 
the location of man's only treasury in verse 20, and has 
its climax in verse 23, " If the light that is in thee be 
darkness," the real theme, " How great is the darkness ! " 

There is a wide difference between the Master's illus- 
trations and His parables. His illustrations are gen- 
erally spoken more quickly than the central thought, 
but a parable is a work of art, a symbol embodying some 
great truth, and it is read slowly ; for example, the story, 
Luke vii. 41, 42, is not a parable but only an illustration, 
and is read more rapidly than the context. 

Again, Luke xii. 54-55 is only an illustration spoken 
quickly, while " ye hypocrites " (v. 56) begins the central 
thought, and is spoken with slow and strong pulsations. 
Luke vii. 32 is only an illustration, and is given with 
secondary interest, but "John the Baptist" and "Son of 
man " (vs. 33-34) are spoken with primary interest and 
as the real point illustrated. But a parable must be 
spoken as a symbol embodying a truth in itself. It 
must be set off by tone-color, change of pitch, and espe- 
cially by stronger movement as having a distinct charac- 
ter. Note, for example, Luke xii. 13-31. The parable 
of the rich man is a unit in itself, and embodies an es- 
sence of Christ's weighty words ; the context is more 
directly pointed and personal. 



VOICE MODULATIONS 275 

After a parable the Master often passes on to the 
application. This is a very important transition. It 
differs always from the parable, it is more direct, more 
pointed, has a more salient melody and a greater direct- 
ness of appeal. Such an application is often a warning. 
Possibly in every case it is the most weighty part of the 
whole passage. 

Notice the strong contrast in Jeremiah xvii. 5-8. The 
excited movement, inflections, and color show disapproval 
in 5 and 6, but give way in verse 7 to slow, intense move- 
ment and tender, deep coloring, in fact to a variation of 
all the modulations of the voice. 

Emphatic transitions are often found in a plain letter. 
Take, for example, a change to what is remarkable in 
1 Corinthians xiii., " Though I speak with the tongues of 
men," — there is nothing extraordinary about this, but 
note the next clause, — " and of angels " ; this is unusual, 
and receives among other modulations a long inflection. 

Later, in verse 12, we have, " Now we see in a mirror, 
darkly." This is well known, and needs no particular 
impression regarding it ; however, the next, " But then 
face to face," must be given with great intensity, to 
suggest the realization of the higher light that is to 
come. Again, " Now I know in part " is a perfectly 
familiar and accepted fact ; but the next, " Then shall I 
know fully as I was fully known," embodies the whole 
point of the passage, and must be read to indicate a 
higher plane of sympathy and thought. 

If the reader will take an important passage, such as 
the ninth chapter of John, carefully analyze its mean- 
ing in direct relation to its vocal expression, and give it a 
practical rendering, he can hardly fail to see the specific 



276 THE TECHNIQUE 

function of each modulation, and the necessary union of 
all of them in expression. 

Omit " and." In the original it only adds another 
event in Christ's life. Attention centres in verse 1 upon 
" blind from his birth," the most remarkable fact regard- 
ing the man. This makes the opening of his eyes the 
more wonderful. This phrase may be made salient by a 
pause before and after, by being spoken slowly, by change 
in the pitch and color, and especially by a rising inflection 
on "blind," and a strong falling inflection on "birth." 

"Disciples" (v. 2), often wrongly accentuated, is only 
slightly emphatic ; they are assumed to be present. 
Attention centres on the discussion. " Asked " is more 
important. (See the Greek.) " Sinned " must be spoken 
to indicate the common idea of that day. The chief 
accentuation is on "man" and "parents," by opposite 
inflections. This confines the sinning to one or the 
other, which was their idea. The reader must ask the 
question as if present. 

The Master's answer is gentle ; not speculation but 
work is our aim in this world. " Neither " contains the 
whole answer; "nor" reiterates this, and has a falling 
inflection. "Manifest" is emphatic by precedence. 
" Works of God " implies what Christ was doing all 
the time — may be here antithetic to their speculative 
attitude ; not speculation, curiosity, but realizing God in 
" work " is the aim of life. 

" Day " (v. 4), possibly antithetic to the blind man's 
night, means opportunity. Accentuating "cometh" 
compares "night" with his "blindness." "Light" (v. 5) 
is strong, and certainly antithetic to "blindness." Was 
this last clause spoken to the disciples or to the blind 



VOICE MODULATIONS 277 

man ? The words of the Master, being the centre of the 
Gospels, should always be given with slower movement 
and more intense coloring than the narrative or descrip- 
tive parts, except where there is an account of the 
marked effect of His words or miracles ; then a de- 
scriptive clause becomes epic in dignity. Verse 6, 
shorter, quicker rhythm : it is a mere narration of facts. 
The Master's direction should be slow, stronger, and 
rhythmic again, for there must have been something of 
love or something to awaken confidence in the blind 
man, in the way He said it. Parenthesis not spoken by 
Christ ; the name of the pool has no importance now ; 
should this parenthesis be omitted ? The most emphatic 
word of the first paragraph is " seeing " (v. 7). This state- 
ment of the miracle must be given with wonder, not as 
a matter of course. A pause before the word shows 
this astonishment as also a change of pitch, color, and 
texture. The reader must enter into an imaginative 
realization of the scene; Christ and the disciples are 
gone ; he must see the one who was blind coming back 
seeing, and must give an impression of the event. 

As this completes one stage in the story, there 
should be a long pause after " seeing." The next scene 
is introduced with a more familiar movement. The word 
"neighbors" is introduced with a strong falling inflec- 
tion. Unless "neighbors" is given salient form, the 
attention of the audience would not be changed ; no new 
characters would be introduced. The question of the 
neighbors is one of surprise. Dramatic instinct de- 
mands that you feel their point of view. Their wonder 
is shown by a kind of staccato touch and inflection on 
nearly every word. The Revised Version (v. 9) repeats 



278 THE TECHNIQUE 

"others." This implies more than two classes. With 
this idea in mind, both should have the same inflection. 
If there were but two classes, as indicated by the King 
James version, the inflections might be opposite. The 
centre of attention should be upon " eyes." Dramatic 
instinct demands a point of view, and calls for simple 
conversational form. 

Third scene or paragraph is introduced by "Phari- 
sees." Strong falling inflection is needed. The "neigh- 
bors " felt the event so important that they reported it to 
the leaders, probably to the Sanhedrin. " Blind " is not 
emphatic, but familiar. To accentuate this word, as is 
often done, is to introduce a different man. The subor- 
dination of this is of the greatest moment. An idea 
is introduced saliently once only, unless there is some 
antithesis. Note the many subordinations here, — for 
example, the last clause of verse 13; also of verse 14. 
" Sabbath" is the centre of an explanatory sentence, 
which is an aside. This makes the inflection upon it on 
a different pitch ; it is introduced to explain what follows. 
It has also a different movement. There was a precept 
against putting saliva on the eye on the Sabbath. All 
healing was forbidden, except where life was imperilled. 
So the Pharisees were greatly shocked. The real 
centre which carries the mind forward in the first 
part of verse 15 is the word "also"; all else is sub- 
ordinated. His answer simply reiterates the same 
words, possibly less emphatic. The reader must feel 
his cautious attitude toward the Sanhedrin. His story 
to them is the same, but shorter. The characters of 
these men, and their feelings toward Christ, should be 
suggested (v. 16). 



VOICE MODULATIONS 279 

The question in verse 17 is by one of the antagonistic 
party. " Thou " expressed in the Greek is very em- 
phatic, both from the logical and dramatic points of view. 
His answer should be given with dignity and weight, and 
show him the noble man he evidently was. With his 
courage and quiet confidence in the face of these preju- 
diced men, he is the hero of the story. The spirit of 
the narrative demands that he be reposeful and noble. 
Sarcastic and ignoble emotion should be confined to the 
angry Jews. This also increases the epic impressiveness 
of the story and the dignity of his character. 

A new scene, so far as vocal expression is concerned, 
or a new paragraph centres in " did not believe " (v. 18), 
not in "Jews"; these are the same men. All else must 
be carefully subordinated. To emphasize "blind," or 
" received sight," confuses the whole movement of the 
story. " Parents " leads the mind to new characters 
introduced. " Believe " and " parents " are the only 
words that should be made salient in verse 18. The 
question of the Jews in verse 19 is colored by sarcasm, 
bitterness, and possibly contempt for this beggar and 
his parents. In verse 20 there is a great change as the 
parents feel the attitude of these rulers. Besides, they 
are on the witness-stand, and their son is not present. 
They are good witnesses and state only what they 
know. Verse 22 centres in "fear," which gives the 
reason for their attitude. " Already " and " synagogue " 
also have some saliency. This verse and the following 
should be read rapidly and with more conversational 
form or the narrative spirit. Thus it furnishes a better 
contrast to any dramatic and epic elements. " Second 
time " (v. 24) implies that the man has been put out and 



28o THE TECHNIQUE 

called back, and introduces another scene. All else in 
this clause is subordinated. " Give glory to God " is a 
solemn adjuration that he should tell a lie for God's 
glory, or say only what they wished him to say. " We " 
expressed in the Greek ; very emphatic, as much as 
to say, it is our business to know ; you are an ignorant 
beggar. His answer is the climax of the story, and is 
given with slow dignity and weight. It is the appeal of 
a man to his own experience. Their answer is quick and 
sarcastic and intellectually eager, with strong accent on 
" what " and " how." They wanted to find a point now 
in the manner. His answer shows that he sees what 
they are about. The emphasis is upon "ye" expressed 
in the Greek (v. 27). The Greek negative and structure 
indicate something like this, " Surely you also do not 
wish to become his disciples." The voice can render 
the spirit of this question with the right accentuation of 
"ye." "Also" implies his own wish to become a dis- 
ciple. The anger of the Jews must be only suggested. 
There is no real genuine sign that the blind man was 
angry. His words imply great dignity and simplicity of 
character, a childlike attitude of mind which is marvel- 
lously portrayed. When one man gets angry, the other 
is apt to get angry by opposition, but this is a sign of 
weakness. It is not necessary here, it is not consistent 
with what he afterward says. Their reviling him is a 
more open antagonism. All previous antagonism must 
be more or less subtly indicated, even in giving their 
speeches. Undignified elements should be as far as 
possible subordinated, as the story is epic rather than 
dramatic. 

In verse 30 the man is genuinely surprised. It is not 



VOICE MODULATIONS 28 1 

necessary to make him antagonistic. " Ye " expressed 
in the Greek ; a long pause after this word implies that 
"It is not wonderful that I, a poor beggar, blind from 
birth, should not know ; but ye, leaders of the people, 
who know the law and the prophets," — he goes on and 
gives his ideas in a simple and straightforward way. 
His gentleness and kindness make them all the more 
antagonistic. In verse 34 their insult for his being 
blind, as equivalent to being born in sin, should be given 
dramatically, or their spirit at least suggested. " Us " is 
very emphatic. "They cast him out" is strongly ac- 
centuated with something of the coloring and especially 
movement of anger. They did it, no doubt, by force, but 
it was symbolic of his rejection from the synagogue. 
He was " cut off from his people." 

Now comes one of the marvellous transitions so fre- 
quent in the Bible, and so important in its vocal expres- 
sion. After a long pause, with a total change of key, 
different color and movement, with a sense of great 
tenderness we centre all upon the word " heard. " No 
verbal emphasis however can interpret it. The whole 
passage must give the feeling; the man, discouraged, 
cut off from his people by the Mosaic law, seems to 
have shrunk away. He did not go to Christ, possibly, 
because he feared he might drag his own misfortunes 
down upon his benefactor. The news was probably 
carried to the Master by one of the Jews who wanted to 
see what the Master would say, and by his manner of 
telling it may have said, "You see you brought him into 
trouble." " Finding him " implies that the Master 
sought him. These sneerers might be willing to show 
him the way, and others would follow with curiosity to 



282 THE TECHNIQUE 

see what would be said. The question in the Greek 
may show this. There may be no isolated emphasis 
however of this. Often the expression of the pronoun 
is too delicate for our crude methods of emphasis, es- 
pecially in the Gospel of John. The answer shows the 
healed man's reserve. He had never seen Jesus, so far 
as we know. He doubtless knew the Master by His 
voice. In his loneliness he shows his bravery and is 
reserved ; he will not implicate his Master without His 
consent. The answer of Jesus (v. 37) is a wonderful 
self -revelation. The chief part of it must have been in 
the manner of the Master, which made the poor outcast 
aware of the character of the one who spoke to him. 
This explains the great feeling and intensity of his 
answer, and his act (v. 38). 

Were these two alone ? Was this a simple heart to 
heart personal self -revelation ? This question must be 
answered by the paragraphing. If they were alone, 
there is a paragraph at verse 39 ; but all the recent edi- 
tions of the Greek Testament make no paragraph at 
this point, implying that some of these sharp-eyed 
Pharisees had followed him, and that here is a rebuke 
to them. Paragraphing would indicate that the follow- 
ing verses were spoken on another occasion. 

Verse 40 is only narrative. It should be given simply 
for the sake of contrast. They still kept up the sarcasm 
and antagonism in their question. The words of the 
Master must be read with great dignity and signifi- 
cance, slow movement, definite touch, low pitch, long 
pauses, and noble coloring. There is no anger, but a 
dignified rebuke of the spirit the Jews were manifesting 
on this and other occasions. The words are subjective 



VOICE MODULATIONS 283 

and tender, though doubly intense and strong. The 
sneering question of the Jews, which breaks into this 
noble strain of high spiritual exaltation, serves to heighten 
the dignity of His words by contrast. The reader, after 
repeating their question in the dramatic spirit, must 
return to the slow epic movement of the serious warning 
of the Master. Their anger must cause no anger in 
Him, their sneer must bring forth no response or irony, 
all the inflections on the last words should be straight, 
and the color, movement, touch, and range of voice 
should have the greatest dignity and seriousness. 



IV 

PREPARATION AND THE 
SERVICE 



XXVII. SELECTION AND ARRANGEMENT 
OF THE LESSON 

We have studied something of the general problem 
of the interpretation of the Bible, the essential spirit of 
the message, especially in relation to human realization 
and expression, and the technique of vocal expression, 
or the expressive modulations of the voice. In the 
application of the principles that have been un- 
folded, many additional questions and problems present 
themselves. 

One of these regards the preparation of a lesson. 
Every lesson must be especially prepared as a whole, 
as well as in part, before it can be given adequate 
interpretation. 

The first step in the specific preparation of the 
Scripture lesson is the selection and arrangement of 
the passage or passages to be read. This receives too 
little attention. Frequently preachers read simply the 
connection of their texts. The appropriateness of a 
passage to the subject, or to the rest of the service, 
is not seriously considered. A clergyman once read, 
to the astonishment of his congregation, the genealogy 
of Christ in Luke iii. 23-38. The reason appeared only 
when he took his text from the last verse, " Adam, who 
was the son of God." This may possibly have been 
done to create a sensation, but more probably it was the 
result of thoughtless custom. The lesson should not 

287 



288 THE SERVICE 

only be carefully studied but carefully selected and ar- 
ranged. A preacher has no right to leave the selection 
of the lesson till the last minute Saturday evening, still 
less to put it off till after his arrival at church. 

If the minister will now and then review the lessons 
he has read, he may find that he has read over and 
over a few favorite chapters and covered only a small 
part of the Bible. He may discover that he has 
made no diligent search to bring forth ''things new 
and old." 

In the selection of the lesson, the reader should 
observe carefully those lectionaries which have been the 
result of study and experience, such as those in the 
Prayer-book. They will suggest to him at least new 
subjects and themes. 

Where the lesson is appointed, as in the Roman 
Catholic or the Episcopal Church, it should be thor- 
oughly studied. The custom of leaving the Scripture 
to be read by inexperienced boys cannot be too ear- 
nestly condemned. 

Wherever it is possible, the minister should make not 
only a close and thorough study of the Scripture to be 
read but an original arrangement or adaptation of his 
lesson. He should begin at the right point, omit all 
unnecessary passages, and bring all into unity. He can 
do this and at the same time unfold a lesson which 
directly bears on the theme, day, or occasion. 

For example, the destruction of Sodom, one of the 
sublime passages of the Old Testament, is rarely, if 
ever, read in church, except in fragments, because half 
of one verse is of such a character that it cannot be read 
aloud in a modern congregation. But even when it is 



SELECTION AND ARRANGEMENT OF LESSON 289 

read, the fact that the escape of Lot was in answer to 
Abraham's prayer is rarely brought out. Now this true 
conception of the whole passage can be indicated by 
beginning the lesson at verses 16, 20, or 22 in the eigh- 
teenth of Genesis, with the prayer of Abraham, who intro- 
duces no personalities into his prayer, notwithstanding 
his deep feeling and longing for Lot, but approaches 
God on the principles of universal justice. Verse 8 of 
the next chapter should be omitted entirely, or at any 
rate the first half of it, to avoid shocking the sensibilities 
of any. The lesson may be further shortened by omit- 
ting verses 18-23 inclusive, and also verses 25-26, clos- 
ing the lesson with verse 29, which should be read with 
strong, slow movement, lower key, and serious, tender 
coloring to carry the hearers back to Abraham's tender 
entreaty. " God remembered Abraham," answered the 
prayer he dared not put in words, and " saved Lot out 
of the midst of the overthrow." 

This is only one instance where omissions will not 
pervert the sense or spirit of a passage, but in the time 
allowed enable the reader to illustrate a larger unity 
and meaning. It is certainly better than reading only 
half, and destroying its true unity, without manifesting 
its epic spirit. 

In the story of Elijah at Carmel, the lesson should 
either stop at 1 Kings xviii. 39, or, if continued, should 
go on into the nineteenth chapter and end at about the 
fifteenth verse. It should not end with chapter xviii., as 
this would make Jehovah seem to approve of the kill- 
ing of the prophets. The lesson should include the 
nineteenth chapter, in which Elijah was practically 
rebuked in a sublime lesson, not only for his lack of 



290 THE SERVICE 

faith, but for his misconception of the real nature of 
Jehovah's methods. 

Again, take the exciting account of the arrest of Paul 
in the book of Acts xxi. 1 5-xxiii. 1 1 and his speech to 
the Jews. By careful abridgment, by noting where 
the reader begins his lesson, which should be according 
to the specific subject, several lessons may be arranged 
from the same passage. 

Great attention should be given to the beginning and 
the end, or the climax. The last should, in a sense, 
complete or bear some relation to the first part. Then 
the central ideas should be carefully studied and re- 
lated, and all illustrative and subordinate parts brought 
into unity. 

Several distinct lessons may be arranged from Acts xii. 
By continuing from verse 1 through 23, an account 
will be given of Herod's persecution, the arrest of 
Peter, his deliverance, and the death of Herod ; while 
verse 24 will give, in contrast, the growth of the church. 
The arrest and deliverance of Peter will require a 
shorter lesson, beginning with either verse 1 or verse 3, 
closing with verse 17. A still shorter lesson, including 
only the deliverance, could be arranged from verse 6 
through verse 11. Many other combinations may also 
be arranged, which must, of course, depend upon the 
purpose the reader has in view. 

Great impressiveness has been secured many times 
by carefully gathering together passages to be read at 
a funeral. He who gives no thought to such work 
misses half his opportunity to do good. There is no 
passage in the Bible which, as a whole, is well adapted 
to be read at funerals. Even the fifteenth of 1 Corin- 



SELECTION AND ARRANGEMENT OF LESSON 291 

thians has certain parts which are irrelevant to a modern 
congregation — for example, verse 29. Besides, the 
chapter is too long. It gives no opportunity to select 
other verses, such as John xiv. 1-4, — a passage which 
has been a source of comfort to thousands. 

The Bible reader must have in mind his whole ser- 
vice, — the occasion, the general aim and the subject, 
the length and character of his sermon. In his ar- 
rangement and study of the lesson, it is a mistake to 
have everything always exactly the same length. There 
are times when it would make the service of greater 
importance and far more interesting to have a long 
Scripture lesson, carefully studied, one that would give, 
it may be, the spirit of a whole book, and add weight 
and force to a shorter sermon, thus making it all the 
more powerful from its not being the conventional 
length of just a certain number of minutes. At other 
times the Scripture lesson could be made very short, 
and read in connection with musical or other modes of 
interpretation or means of worship or with a longer 
sermon. To read other passages, in connection with 
the parable of the Prodigal Son, for example, would be 
very apt to detract from its impressiveness and the true 
realization of its meaning. 

The lessons should be short or long, entirely in accord- 
ance with their spirit and nature, the occasion, the ob- 
ject, and never be of uniform length or in accordance 
with conventional custom. Every lesson, in fact every 
service, should be studied for its own sake. 

The reader of the Bible meets a special difficulty from 
the fact of its division into chapters and verses. Sys- 
tems of theology were formerly built up on proof-texts, 



292 



THE SERVICE 



consisting too often of isolated verses separated from 
their connection and sometimes out of keeping with the 
spirit of the whole book, or even opposed to the argu- 
ment of the chapter in which they were found. 

The reader should make his own paragraphs, care- 
fully observing the principle of paragraphing which, for 
example, Professor Wendell in his book on composition 
calls " massing." The general arrangement of the 
lesson and its proper vocal interpretation greatly 
depend upon careful study of the paragraph. 

It must be noted, however, that rhetorical paragraph- 
ing may be very different from that of vocal expression. 
The passionate movement, the broad, salient transitions, 
are generally more numerous in vocal expression than 
in mere printing, but even the printing should be scanned 
and the lesson carefully prepared in this respect. Vocal 
expression goes farther in paragraphing than writing. 

The preacher should adopt some method of recording 
his studies. Not that the investigation made of a lesson 
will enable him to prepare the same lesson more rapidly 
if he should read it again, but such a list will enable 
a preacher or reader from time to time to compare his 
comprehensive studies of books and passages and criti- 
cise himself upon the nature and variety of the lessons 
he has read. 



XXVIII. THE PREPARATION OF THE 
LESSON 

Every Scripture lesson has a character of its own, 
and however insignificant the occasion, however short 
the passage may be, it should be read with specific 
adaptation to the situation, circumstances, and the per- 
sons present. More than a general knowledge of the 
Bible is needed. 

Every picture and situation must be so fresh in the 
mind, every thought so familiar and the realization of 
all so intense, that the emotions will be spontaneously 
awakened and that all the modulations of the voice 
will naturally result and be harmoniously united. 

It seems strange that many preachers neglect such 
preparation. Formerly there was a class of preach- 
ers who felt it was wrong to prepare a sermon. At 
some " meeting " or " association " there would be a 
pulpit full of preachers, and after the congregation 
had sung several hymns, it would be decided who was 
to preach, or the preacher, who had been previously 
appointed, might feel sufficient inspiration to rise and 
begin the service. Sometimes others would conduct 
the opening exercises. Then the preacher would begin, 
and gradually work himself up to a state of ecstasy. 
This was called " Hard-shell preaching." The minister 
spoke under the " influence of the Spirit" or through 
direct inspiration. Happily this kind of preaching has 

293 



294 THE SERVICE 

long passed, except in some regions remote from civili- 
zation. But Hard-shell reading is still common. A 
member of a committee of prominent clergymen, who 
were judges at a contest to award prizes for reading 
the Scriptures, said that the young men read too well, 
that they ought not to have prepared their passage, or 
been given the opportunity to prepare it, even twenty- 
four hours in advance, as was the case with these young 
men, as a " reader of the Scriptures was liable to be 
called upon even after he entered the pulpit to read 
the Bible, and the true training of the men should 
recognize that custom, so that they should read it at 
sight." I was present and heard this remark, or I 
should not have believed such sentiments possible in 
any educated community. 

However familiar a man may be with the Scriptures, 
however able to command himself in an emergency, so 
as to read a few words or a short lesson, no conscien- 
tious minister who understands the nature of vocal 
expression will allow himself to neglect the thorough 
conscientious preparation of the lesson he is to read. 
He may have studied it thoroughly years before, but he 
knows that this is not enough. There must be a pres- 
ent readiness, a freshness of thought and feeling. 

Suppose a man should practise preaching old ser- 
mons, reading them without thorough study. What 
effect would that have upon an audience ? It would 
put them to sleep. A man must live the ideas. If 
old sermons are considered dangerous by the living 
preacher who knows his work and the nature of the 
human heart, the same principle applies also to a Scrip- 
ture lesson, which always requires fresh meditation and 
preparation. 



THE PREPARATION OF THE LESSON 295 

Vocal expression demands that thought and feeling 
should be living and present. Emotion cannot be kept 
for years. There must be a re-contemplation of each 
idea, a re-creation of every scene, a re-application of 
knowledge. Only intense study and meditation a short 
time before reading can give a passage adequate expres- 
sion. Thought may be prepared and presented after 
long years more adequately than imagination and emo- 
tion. Feeling must always be a present, living realiza- 
tion, or it is not feeling at all. But even thought will 
lose all fresh or imaginative responsiveness, and will be 
cold and dead, without being once more thought out 
and its grounds carefully examined. 

Last of all, there must be a spiritual realization of the 
message ; an application of it to the reader's own expe- 
rience. Nothing can compensate for lack of this. 
Without this part of the preparation of the lesson, 
there will be a certain aloofness in the reading, a cer- 
tain separation of the thought and feeling from the 
reader's own soul. 

In short, every lesson should be thoroughly prepared. 
There must not be a doubt remaining as to the meaning 
of any word or clause. Any passage whose meaning is 
not comprehended should be omitted. To cover up the 
definite and specific meaning of the passage by slurring 
it over, as is so often done, has a very bad effect upon 
the reader's vocal expression — not to say his character 
and life. Truth in vocal expression is just as necessary 
as truth in words. Possibly a failure to tell the exact 
truth by the modulations of the voice or the natural 
languages has a more serious effect upon the character 
than an inaccurate statement, even in words. It is falsi- 



296 THE SERVICE 

fying a reader's own realization ; it is untruthfulness of 
feeling. 

Of course, a reader of the Scriptures will say he has 
no time. He will devote the whole week to the sermon, 
and a very few minutes to the lesson, but in these days 
of topical preaching, a sermon is, as a rule, only upon 
a verse or phrase of Scripture. But the expression 
demands a continuity and unity in the comprehension of 
the whole passage, and requires as thorough study as 
the text itself upon which the preacher bases his 
sermon. 

The reader should investigate every aspect of his les- 
son. He should examine every historical reference, he 
must extend his studies to the age, the time, and the 
place, to the very life and spirit of the writer or speaker 
and the hearers to whom the words were originally 
addressed. In his searching investigation, he must find 
material for his imagination so that he can truthfully 
construct a living situation and scene. 

If Holman Hunt made prolonged visits to Jerusalem 
and devoted years to the study of the facts in order to 
paint "Christ in the Temple," or "The Shadow of the 
Cross," if a painter, to portray a single scene, requires 
such careful and accurate study, how can negligence 
be forgiven in the preacher who is to paint by his voice 
the Biblical narrative, the characters and the spirit and 
thought of that age ? 

The reader should carefully study the customs of the 
Bible. These are frequently so involved in the passage 
that men miss the meaning of them. For example, the 
parable of the lost piece of money (Luke xv. ) is not 
understood by many, because they fail to realize the 



THE PREPARATION OF THE LESSON 297 

significance of the " ten pieces of silver." To appre- 
ciate the story requires some knowledge of the symbolic 
significance of these pieces. The word "friends" is 
feminine in the Greek. Drs. Hovey, Weston, and 
Broadus, in their version, translate it, " She called 
together her female friends and neighbors." This is 
true to the original. Only these could appreciate the 
significance she attached to the piece of money she had 
lost. To the Master's audience, the parable did not 
have less but more force than the parable of the lost 
sheep. 

The most important preparation is a personal realiza- 
tion, even demonstration of the spiritual force and power 
of the passage. Men repeat, over and over, passages of 
Scripture without personally applying them to them- 
selves. The point of many passages is too often 
regarded as something past, as applying to a remote 
age of the world, but not to the present, as belonging to 
a past dispensation, and having no application to the 
soul at the present time. There can be no passage read, 
whatever be our views regarding it, that will not be 
found to have a direct, personal application to ourselves. 
A Scripture lesson is not read for entertainment, or 
amusement, or merely for instruction ; it is read with 
reference to the spiritual application of truth to the souls 
of a congregation of worshippers. 



XXIX. THE SPIRIT OF THE GREEK 

All laws of thinking, as they relate to ordinary 
speaking, apply to the reading of the Bible. But to find 
the deepest meaning of a sentence or the relative value 
of words and ideas, as a preparation of a passage for 
reading, we have an additional help in the structure 
of the Greek. 

Greek is one of the most flexible of languages. The 
position of a word is not necessary to show its gram- 
matical relations, as in English. The words in Greek 
can be so mixed up as to seem chaotic and confused to 
the mind of an Englishman ; but beneath the seeming 
lack of coherence are principles and laws determining 
the true meaning or force of a passage. 

Among the causes of the order of the words in Greek 
are euphony, grammatical relationship or clearness, and 
the relative importance or logical relationship of ideas. 
Of course, there is occasionally a conventional order, like 
" land and sea," but in general the words are placed in 
the order of the conceptions of the mind. 

In English, a conventional order is necessary. Other- 
wise ambiguity or even incoherence results. Of the 
natural order so common in the Greek we know little. 
It was the inflectional character of Greek and Hebrew 
and other languages which enabled readers to follow the 
natural order of thought rather than the grammatical 
relations of the words; for example, in the sentence, 

298 



THE SPIRIT OF THE GREEK 299 

"Whence to us in a wilderness loaves so many as to 
feed a multitude so great." This is not an English but 
a Greek order of words. Though the force of such an 
order cannot be shown by English words, it can be 
revealed by the modulations of the voice. 

That there is a natural order of ideas, can be seen in 
the case of deaf mutes. Suppose a mute child comes 
with its playmate and tells his teacher, " He struck me." 
In stating this in the English language there is no 
chance for variation in the three words. But the deaf 
mute will put the sign for " he," for " struck," or for 
"me" first, according to the association of ideas — ac- 
cording, that is, to that which is uppermost or most im- 
portant in his mind. It is natural to form a conception 
of what is most important first. 

In the study of Greek we can lay down as a general 
principle that whenever any word is found out of its 
ordinary place, unusual importance is attached to it. 

It may be well to summarize and illustrate some ways 
in which the Greek indicates the natural order or the 
accentuation of an idea by changes in the position of 
the words. While we may not be able to translate all 
these changes into English words, a reader who has 
command of the vocabulary of delivery and feels the 
force of the passage can suggest them by the modula- 
tions of the voice. It must be recognized, however, 
that this force cannot be shown by mere emphasis of 
special words. All the modulations in a wide variety of 
combinations are required. But an intelligent reader 
of the Scriptures will not stop short of any work or help 
that will enable him to express the real meaning and 
spirit of a passage. 



300 THE SERVICE 

These changes from ordinary arrangement, order, or 
use of words in the Greek may be divided into five gen- 
eral classes : Precedence, which is more important from 
the point of view of logic ; Postponement, which is 
rhetorical rather than logical, and is not very common ; 
Proximity ; Separation ; and Repetition. 

i. Precedence. — There are innumerable examples of 
this in the New Testament. " Great is Diana of the 
Ephesians " — the word "great," by being placed first, 
is made emphatic even in English. Matthew ii. 6, " By 
no means least art thou among the princes of Judah." 
The strong negative is first, and the word for " least " is 
next. These words should, therefore, be made emphatic. 
In i Corinthians xv., "But this I say, brethren" — the 
word for "this" is emphatic by precedence. So in 
i Corinthians xiii. 9, "in part" is made emphatic in the 
same way. The force of these words was no doubt 
indicated by the Greeks in their vocal expression, and 
the arrangement of the words shows their great mas- 
tery of the art. In 1 Corinthians xv. 32, "If the dead 
are not raised" is often punctuated with the preceding 
sentence, whereas it belongs to the next and is emphatic 
by precedence. 

Priority and preplacement are very common in the 
New Testament as indicative of emphasis. See for 
some examples Luke xv. Several classes of precedence 
may be enumerated : — 

The adjective before its noun. Naturally, in Greek, 
the noun precedes and the adjective follows. When 
this is reversed, it indicates emphasis. In Matthew xxv. 
24, the word " hard " preceding its noun has more value. 
The same is true respecting the different kinds of wine 
in John ii. 10. 



THE SPIRIT OF THE GREEK 301 

The genitive before its noun. In 1 Corinthians iii. 9, 
the word " God " occurs three times in the genitive ; in 
all cases it precedes its noun, and is emphatic. 

The dative and accusative cases before their verbs or 
their nouns, as in 1 Corinthians ii. 4. 

The pronoun before its antecedent. The same occurs 
in English but not frequently. 

The verb before its subject. See Hebrews xi. 32. 
From the structure of this sentence, is "fail" or "time" 
emphatic ? 

Predicate nouns may be made emphatic by position. 
(See John i. 1.) Also the predicate adjective, also 
adverbs before the verbs they qualify. 

Precedence applies to words in every conceivable 
grammatical relation, and even to clauses. " In part we 
know, and in part we prophesy" (1 Corinthians xiii. 9). 

In general any word, phrase, or clause placed first, 
out of its natural location, arrests attention, and is 
important. 

2. Postponement. — A word is made important not 
only by priority, but is often postponed and given atthe 
end of the sentence. Sometimes two words may be 
made emphatic ; one by preplacement and the other by 
postplacement. In case of doubt, precedence is con- 
sidered more important. For illustrations of postplace- 
ment, in Hebrews vii. 22, note the position of the word 
" Jesus." In 1 Corinthians xiii. 1, the word " angels " is 
delayed to the end of the clause; there seems to be 
something of a climactic accent upon this word, and 
postponement gives this effect. 

Words in almost any grammatical construction maybe 
made emphatic by delay. In Hebrews vi. 19, notice the 



302 THE SERVICE 

position of the words translated " sure and steadfast." 
In John vii. 38, notice the position of "living water." 
The Greek word for " rivers " is placed first and the 
words " living water " last in the clause, both emphatic. 
This shows the great flexibility of the Greek. Vocal 
expression may indicate this emphasis by a long pause 
after " rivers " and a strong inflection on both words. 

3. Proximity, or juxtaposition. In Matthew x. 21, the 
Greek order is " brother, brother shall deliver up, and 
father, child." See Hebrews xi. 4, where Cain and Abel 
are placed in juxtaposition. In 1 Peter ii. 7, note the 
position in the Greek of the words translated "believe" 
and " disbelieve." Though far apart in the English ver- 
sion, they are in immediate proximity in the Greek. 
" If Satan cast out Satan," the two nouns in Greek are 
in immediate juxtaposition. 

4. Separation. — In the apostolic benediction, " Grace 
be unto you, and peace," this order of words, which is 
borrowed from the Greek, makes both words emphatic. 
In all cases where precedence and postponement are both 
used for emphasis, we have an illustration of this principle. 
In 1 Corinthians xiii. 1, " Though with the tongues of men 
I should speak and of angels " may be regarded by some 
as a case of separation, but the emphasis falls on the 
second or postponed word. So postponement is per- 
haps the principle, while in the clause " rivers " shall 
flow of " living water," both words are emphatic. Both 
are generally made emphatic by juxtaposition or separa- 
tion, only one by precedence and postponement. There 
may be separation, however, independently of the two 
other principles. Proximity and separation are often 
used for antitheses. Every forcible writer uses many 



THE SPIRIT OF THE GREEK 303 

antitheses. They are found throughout the New Testa- 
ment, and especially in the writings of Paul. 

5. Repetition, or Pleonasm. — In Greek, the personal 
pronouns are implied in the inflection of the verb, and 
are expressed chiefly to indicate emphasis. Note the 
force of the word "thou" in 2 Timothy iv. 5. After 
speaking of others and their lack of faithfulness, Paul 
brings his message home to Timothy, himself, " But 
thou." This exhortation is a personal one to Timothy. 

In Matthew xxvii. 11, in " Art thou the King of the 
Jews ? " the " thou " is expressed in the original. Vocal 
expression should not strongly accentuate this word ; 
in fact, the ordinary mechanical methods of emphasis 
will pervert its spirit. Still the word "thou" has a 
peculiar value ; the reader must realize this and find in 
the modulations of his voice some coloring to express 
the special value of this word. 

"There," says Canon Farrar, "amid those voluptuous 
splendours, Pilate, already interested, already feeling in 
this prisoner before him some nobleness which touched 
his Roman nature, asking Him in pitying wonder, 
'Art thou the King of the Jews?' — thou poor worn, 
tear-stained outcast, in this hour of thy bitter need — 
O pale, lonely, friendless, wasted man, in thy poor 
peasant garments, with thy tied hands and the foul 
traces of the insults of thine enemies on thy face and 
on thy robes — thou, so unlike the fierce, magnificent 
Herod, whom this multitude which thirsts for thy blood 
acknowledged as their sovereign — art thou the King of 
the Jews ? " Some may regard this as mere rhetoric. 
But if we turn to the Greek, we can see that it is cor- 
rect exegesis. 



304 THE SERVICE 

In Matthew i. 21, " He (himself) shall save his people 
from their sins," the pronoun is expressed, and is 
emphatic. In Galatians ii. 19, 20, the pronoun "I" is 
found six times in the English version, and is expressed 
twice in the Greek for a very subtle degree of emphasis. 
In John v. 33, "Ye sent unto John," the "ye" is ex- 
pressed in the Greek. The word " I " in the next sen- 
tence is expressed. " The witness, which I myself 
receive, is not from man." "Ye take him," said Pilate 
to the Jews. They said, " We have no right." 

Sometimes repetition or pleonasm applies to other 
words or parts of speech, as in 1 Corinthians x. 1-4, 
where the word "all" is five times repeated. Repeti- 
tion, however, is not so important in the Greek as in 
the Hebrew. 

The Greek structure indicates great variety of mean- 
ings and fulness of life, which can never be shown or 
expressed by so called "emphasis." Every language 
has its own idioms. Greek idioms can rarely be trans- 
lated into English. Possibly the most idiomatic ex- 
pressions of any language are the more nearly related 
to its vocal expression. One who knows his Greek 
Testament must study a passage and obtain a thorough 
understanding and realization of its meaning, making 
the thought and feeling entirely his own, before his 
knowledge of Greek will be of any assistance. Even 
then he must have command of the vocabulary of de- 
livery, that he may suggest the fulness of life he finds 
in the Greek, not by words, but by his own voice. 
Vocal expression reveals to another the whole life of 
the mind, only the concepts of which are represented 
by words. The delicate sense of relations and relative 






THE SPIRIT OF THE GREEK 305 

values of ideas can be revealed by vocal expression ; 
and whatever gives a reader a fuller and deeper realiza- 
tion of the meaning, whether from study of the original 
or his own personal experience, can be suggested by the 
modulations of the voice. 

All language is imperfect. John Stuart Mill said 
Plato and Aristotle made many mistakes because they 
knew only one language. A man who knows but one 
language is apt to take words for things. So a reader 
of the Bible should feel the life and thought below the 
words and the functions of all modulations that reveal 
this life. A study of the deeper meaning of the Greek, 
which cannot be translated into English, may help one 
to realize and use the power of the voice to suggest 
this. 

Among the many things in Greek which English 
cannot hint, are the many degrees of emphasis of nega- 
tives, but vocal expression can, in a measure, even inti- 
mate these. Again, in the last chapter of John, in 
Christ's questions to Peter (see p. 254), the power of the 
different words in the Greek for "love" cannot be indi- 
cated by English words. The awkward phrases that 
have been invented to express this delicate progression 
are wholly inadequate. The best way to do this is by a 
change in the coloring of the voice. 

It may help the student at first to place marks in his 
Bible to indicate unusual meanings which he has found 
in his Greek and other studies. This will be a record 
to remind him of these meanings, and will prevent him 
from regarding phraseology as something sacred in 
itself, or forgetting that reverence belongs entirely to 
the meaning, 
x 



306 THE SERVICE 

The lover of Greek, who realizes the sublime fulness 
of its meaning and has a thorough command of the 
language of vocal expression, must learn that even the 
Greek is a verbal language, and that after all it is only 
the soul's realization of the thought and feeling which 
can be revealed through the voice. Too much depend- 
ence upon the Greek may sometimes hinder the fulness 
and real adequacy of expression. There are some 
dangers in emphasizing specific words even though 
emphasis should seemingly accord with the original. 
Many books have been published recently with great 
show of scholarship to give assistance in reading the 
Bible. In these an endeavor is made to print the words 
in English in such a way as to indicate their relative im- 
portance in Greek. Two or three degrees of emphasis 
are sometimes indicated by means either of marks or of 
different type. Students have been known to give large 
sums to have their New Testament marked by some elo- 
cutionist. In no case have I found these methods per- 
manently helpful. I have never known one who, having 
entire command of vocal expression and a proper vocab- 
ulary of the modulations of the voice, did not come to 
regard such books as hindrances. In a general way, 
such books may give assistance in the preparation of 
the lesson by hinting at some meaning hitherto over- 
looked ; still they give the force of the Greek vaguely. 
One who knows Greek has no use for them, and one 
who does not know Greek is apt to obtain a false im- 
pression because knowledge of a language is useless 
unless we can think in it. Such books remind one of 
what Phillips Brooks said of some other ministerial 
helps ; that they were like most books on etiquette, 



THE SPIRIT OF THE GREEK 307 

" unintelligible to those who need them and needless to 
those who can understand them." 

But there are deeper questions involved in their use, 
and their multiplication is a sad commentary on the 
universal ignorance of the real nature of vocal expres- 
sion. In the first place, the true expression of a passage 
never depends on one word, and least of all on the so- 
called " emphasis " of one word. Entirely too much 
stress has been laid in Bible reading on the " emphatic 
word." The modulations of the voice are complex, and 
in the natural unity of vocal expression no one modula- 
tion, as has been shown, can be isolated from the others. 
Vocal expression is a living language. It is directly 
related to ideas and to the thinking mind. A phrase or 
sentence can be so spoken as to suggest the fulness of 
life. Every word receives some kind of modulation which 
relates it to the general thought of the sentence. Even 
in the giving of one word all these modulations are united 
to show different phases or aspects of the meaning. 

These works show an overestimate of mere words, 
and a misconception of the function of the natural 
languages. Words are successive ; modulations are 
simultaneous. For this reason, vocal expression is 
governed by different laws, — the laws of thinking and 
feeling of nature and art, and not the rules of grammar 
and rhetoric. 

Vocal expression cannot be recorded. There is no 
system of marks which can give more than a mere hint 
of some one of the modulations isolated from the others 
with which it is vitally connected. No mark has ever 
been able to indicate one-tenth of the meaning found in 
even one of these modulations. 



308 THE SERVICE 

Take, for example, inflection. The rising and the 
falling inflection may be indicated, and the words where 
these inflections occur. But nothing can be indicated 
of the length or abruptness of these inflections, nothing 
of the change of pitch or tone-color ; so that such 
marks exaggerate the importance of direction of inflec- 
tion. Sometimes readers, by following such marks too 
exclusively, become mechanical and cold. The use of 
marks, even the reader's own, — unless as a mere record 
of personal investigation, — ■ violates instinct, and causes 
the reader to overlook the deeper meaning of a passage. 

Such marks may temporarily help one who has no 
teacher to break up some bad habits, but he must grow 
out of their use very soon or he will become mechanical. 

Every language has a vocal expression more or less 
peculiar to itself. The modulations of the English 
language are due, many of them, to the fact that our 
language lacks inflectional modulations. We do not 
know what Greek vocal expression was. They must 
have rendered their language with marvellous flexibility, 
— the variations and structure of its metres suggest 
wonders of their delivery which are not found in modern 
Greek. To most of us their vocal expression is lost. 
The peculiar structure of their language is only vaguely 
hinted at, and its subtler meanings can be discerned, if at 
all, only by great scholars able to realize by their imagina- 
tion the vocal modulations of the natural Greek speaker. 

A mere technical knowledge of Greek, however 
thorough, may be no help to the interpretation of the 
Scriptures. The suggestions of the Greek structure, the 
ideas which cannot be conveyed by the English trans- 
lation, must be assimilated. The reader must be able 



THE SPIRIT OF THE GREEK 309 

to think imaginatively in the Greek, to adopt the Greek 
point of view. When a scholar relies merely upon facts 
without using his imagination and sympathies, his read- 
ing will be necessarily poor. In fact, the Greek spirit 
must be gained, not alone from the Greek language, 
but from Greek art and Greek poetry, Greek oratory 
and Greek literature. 

The suggestions derived from the study of the lan- 
guage must furnish mere suggestion ; must furnish 
material for the dramatic intuition ; and must be trans- 
lated, if not into English words, into the modulations 
of the voice. 

It must be borne in mind that the Bible should be 
read with the natural conversational methods of English 
speakers. We too often forget the importance of Eng- 
lish in New Testament studies. One cause of the lack 
of popularity, especially in England, of the Revised 
Version of the Bible is due to what Mr. Moon has 
indicated in the title of his book, "The Reviser's Eng- 
lish." This principle, however, applies not only to Eng- 
lish structure, but is still more true of natural vocal 
expression. The ease with which it can be read aloud 
must be the test even of a version of the Scriptures. 

All artificial helps, therefore, must be secondary to 
the personal realization of the passage. The study of 
the passage must be thorough, in order to get posses- 
sion of the meaning and awaken the reader's imagina- 
tion and sympathy. He must live each idea before he 
gives it. 

What is especially needed at the present time is more 
adequate study of vocal expression and a command of 
the modulations of the voice. In fact, no matter how 



310 THE SERVICE 

great may be a scholar's realization of the meaning of a 
passage, — and such knowledge can never be too compre- 
hensive, — still all this is but a preparation. To read the 
Bible adequately, there must be, as was once said, " an 
acquaintance with the Bible in the original English." 



XXX. THE SPIRIT OF THE HEBREW 

As Hebrew is one of the primitive languages, we find 
in it some primary struggles of the human mind to ex- 
press itself and direct indications of the natural order of 
ideas. As Ewald says, a sentence often " receives the 
tinge of juvenile restlessness and vivacity." Perhaps no 
language better suggests the broken and explosive 
character of passion. 

In the ordinary arrangements of words in Hebrew, the 
predicate precedes the subject, except when the predi- 
cate is a noun. In this case the subject precedes ; also, 
in descriptive clauses the subject precedes the predicate. 
The reason for this is that in the descriptive clauses the 
things are uppermost in the mind, but to the Hebrew 
mind the act seems to have been the idea that was 
uppermost. In each case the object is usually last. 

As in the case of Greek, any departure from the 
ordinary arrangement of words is indicative of emphasis. 

i. Precedence. — The subject or object is placed first, 
contrary to the order in calm discourse. This indicates 
a slight degree of emphasis. The verb is almost always 
between the subject and object in either case. The 
subject first in prose confers upon the phrase a poeti- 
cal coloring by transferring the predicate to the end. 
" In the beginning God created the heaven and the 
earth." " In the beginning" is emphatic by prece- 
dence. " The lion, thy servant smote." " Even stone 
water wears away." " In my dream, behold, I stood." 

3" 



312 THE SERVICE 

2. Postponement. — A more unusual order is that of 

verb, object, and subject. This gives prominence to 
the last member, " Declares thy guilt thy mouth." 

3. Repetition. — The strongest method of emphasis 
in Hebrew is repetition. So primitive is the language 
that it reflects the idioms of childhood. For example, 
a boy may say, " John, he struck me." This may be 
regarded as bad grammar in English, but it is an idiom 
in Hebrew, and makes "John" emphatic. In this 
case, the uppermost emphatic word is the one which 
stands for the whole concept in the child's mind, and 
the clause which follows is the explanation, in apposi- 
tion. The expression is natural. In discourse which 
is " in any way animated, a small word, which involun- 
tarily expresses this excitement, likes to be placed at 
the beginning of the sentence." " The blessing of 
Jehovah, it maketh rich." "Jehovah, him shall ye 
sanctify " (Isaiah viii. 13). " And Abel, he also brought." 
" Righteous, righteous " (Deuteronomy xvi. 20), repeti- 
tion of adjective. "The people, he made them to pass 
over" (Genesis xlvii. 21). "Jehovah, in heaven is his 
throne." " That day, far off is the time " (Micah vii. 1 1). 

In ordinary discourse the verb stands first. It is not, 
therefore, emphatic by position, but is repeated for the 
sake of emphasis. In repeating the verb there is a 
peculiar construction in Hebrew of the infinitive abso- 
lute at the beginning of the sentence which repeats 
the principal verb. "Since the verb," says Ewald, "in 
unimpassioned discourse already in its own right stands 
at the head of the sentence, and, therefore, cannot be 
marked out by its position as emphatic, it is repeated 
for the sake of emphasis, not, however, in the crude 



THE SPIRIT OF THE HEBREW 313 

manner which is distasteful to the language, but in 
such a way that it, first of all, stands at the beginning 
merely in the form of the infinitive absolute — since the 
verb receives great force by being placed in this way at 
the head of the sentence — and then is explained im- 
mediately afterward in the smoother form and in the 
way which, apart from this emphasis, it would stand in 
the discourse. Thus there is formed a mode of expres- 
sion which continues to retain almost its original juve- 
nile and popular form, and for that very reason is as 
intensely characteristic of the Hebrew language as it is 
of frequent use in it, one, too, which really only renders 
prominent the emphasis resting on the verb among 
the other ideas in the sentence ; in German and Eng- 
lish popular language there is a similar idiom ; as 
1 Speak, he did not' " There are many examples in 
the Old Testament. "I am escaped, only I " (Job i. 15) 
— pronoun repeated. " In his mouth, also he " ( 1 Samuel 
xxv. 24; 2 Samuel xvii. 5). " My haters to me " (Psalms 
xxvii. 2) — pronoun repeated. 

The repetitions of pronouns are innumerable. Not 
only is the pronoun expressed, but the pleonastic con- 
struction of pronoun and its noun in the same sentence 
indicates strong emphasis. The pronoun needs to be 
repeated for emphasis because it is apt to be so abbre- 
viated that it cannot receive prominence merely in virtue 
of the position assigned to it. " In case of a pronominal 
suffix," says Ewald, " which is attached to a noun, 
and which, as being very much abbreviated, is quite 
unemphatic, and yet cannot be separated from its noun 
and placed in front, strong emphasis is indicated by 
adding the full form of the personal pronoun." " Reign- 



314 THE SERVICE 

ing wilt thou reign?" (Genesis xxxvii. 8) — infinitive 
absolute. 

The peculiar structure of the Hebrew is more difficult 
to render into English than Greek. There is a special 
difficulty in rendering Hebrew poetry, where a sentence 
seems to leap with the animation of childhood, making 
translation well-nigh impossible. A realization, however, 
of the peculiar childlike order of words, in passion and 
excitement, will greatly assist in the reading of Hebrew 
poetry. Not only should readers study the structure of 
Hebrew, but compare it with the excited speech of 
children in order to realize the primitive, poetic em- 
phasis, especially in Hebrew poetry, and to interpret 
the spirit of these sublime books. 

Herbert Spencer, in his Essay on the Philosophy of 
Style, in which he traces the whole principle of style 
to one of economy, and contrasts the direct order with 
the indirect order of ideas, has a few remarks which 
help us to understand the naturalness of Hebrew struc- 
ture. He speaks of some words or phrases as due to 
" mental excitement spontaneously prompted," and to 
forms of speech which are very brief and effective, such 
as "Out with him!" "Away with him!" or other 
utterances of angry citizens. Farther on he says that 
extreme brevity is another characteristic of passionate 
language. " The sentences are generally incomplete. 
The particles are omitted, and frequently important 
words are left to be gathered from the context. Great 
admiration does not find itself expressed in a precise 
phrase like ' It is beautiful ! ' but in a simple excla- 
mation — ' Beautiful ! ' So in reading a letter, if one 
should say ' Rascal ' — he would be thought angry, 



THE SPIRIT OF THE HEBREW 315 

while ' He is a vile rascal ! ' would imply comparative 
coolness." 

Such structure is found in modern languages, but the 
primitive Hebrew leaps and dances with passion. A 
study of Hebrew structure in relation to vocal expres- 
sion is valuable in itself, in that it brings us into con- 
tact with the natural order of thought and the most 
direct effect of feeling over words. In such expressions 
as " lovely ! " or " horrible ! " we find not only few words, 
but a multiplication and accentuation of the modulations 
of vocal expression. And, in general, we find in pro- 
portion to the number of words there is a lack of the 
elements of vocal expression ; but, in proportion as the 
words are few, there is an accentuation and extension 
of the modulations of the voice. 

As rhythm is the primary element or first step in all 
art, we should naturally expect in the Hebrew a peculiar 
accentuation or use of this principle, — and such is the 
case. All the later studies of the Hebrew language 
recognize this, and one who is sensitive to the Hebrew 
structure will feel that it is not an accident, but the 
direct expression of the rhythm of the thought and feel- 
ing of the speaker or writer. Not only parallelism in 
the Psalms, but even emphasis is now regarded as being 
chiefly a matter of rhythm in the Hebrew structure. 

The principle of parallelism in the Psalms in its action 
and reaction with progression of emotion is not unique or 
odd, but is founded on a universal truth. To feel this, 
one need only take up Tennyson's " Crossing the Bar." 
Here there is a peculiar alternation in the verses, a 
repetition almost exactly corresponding to the Hebrew 
parallelism, — with slight additions in each parallel 



316 THE SERVICE 

stanza. This sustains the emotion, accentuates the 
rhythm, and maintains the contemplative or lyric spirit. 

From this we should naturally infer that emphasis in 
Hebrew is more dependent on pause and touch, or the 
rhythmic elements of delivery, than upon the melodic. 
There is a peculiar accentuation of everything belonging 
to rhythm, and only occasionally does one find the vigor- 
ous and long-continued sustaining of the argument com- 
mon to western nations. Hebrew must not, however, 
be regarded as not having logical continuity of ideas. 
Its logic is peculiar to the age. 

The character of the Hebrew language permitted not 
only great variation in the order of the words, but also 
rhythmic possibilities hard for us to discover. The 
surest aid to the reading and bringing out of the mean- 
ing of the Hebrew language is a careful development of 
the sense of rhythm and its relation to vocal expression. 
The ability to give the Hebrew spirit is very valuable in 
developing in the preacher the power of sublime and 
spiritual realization. There is hardly any exercise so 
helpful to the voice in the development of its tone-color 
and decision of touch, as the careful rendering of the 
Psalms. 



XXXI. SELF-CRITICISM 

The preparation of a lesson can never consist in mere 
theoretic investigation, or even in meditation. These 
are very necessary, but as Bible reading is an art, direct 
experiment is demanded. The reader must read his 
lesson aloud. He must test its every idea, its general 
meaning, its every shade of emotion and the relation of 
all the parts, practically by his voice. However much 
may be learned from a careful study of principles, all 
will be lost unless there is a direct endeavor to give 
adequate expression alone, or to some individual, of the 
deeper meanings of a passage. And this practice should 
not be careless or thoughtless. The reader should give 
himself with his heart and soul to the direct expression 
of every verse and clause, and he must also repeat and 
read passages in many different ways, to realize that 
one which is best for himself. For vocal expression 
must, after all, be in some sense personal. We can 
only express what is in the depths of our own soul, im- 
pressions produced upon ourselves, our own realization 
of meaning, thought, and feeling. 

That practice may not be thoughtless or fruitless, 
some tests are here given by which the reader can real- 
ize in himself what is right and what is wrong, what is 
strong and what is weak, what will give the true spirit 
of the Bible, and what will be superficial and inadequate. 

If the Bible is literature, and governed in its form by 

317 



318 THE SERVICE 

the laws of art, we must necessarily recognize the real 
character and sacred mission of art. We should also 
study carefully the truthfulness of its laws, for the 
nobler the literature the more must these laws be ap- 
plied to its vocal expression. 

The reader must also recognize that these laws are to 
be applied by himself to his own reading. He must be 
able to realize in himself when he conforms to them, 
and when he violates them. Even criticisms from 
others must be regarded as only intimations to awaken 
the reader to a recognition of the fundamental principles 
of expression. 

Can any suggestions be made that will aid the reader 
in distinguishing true expression, or testing his obedi- 
ence to those laws in rendering a Scripture passage ? 
Can any principle be laid down by which he can in him- 
self realize that one rendering is good and another bad ? 

The first test of all must be simple truthfulness. Is 
the reading of the word, clause, or passage genuine ? Is 
it true to nature ? Is it the reader's own vision of the 
passage ? Or is it mere sight at second hand, a mere 
imitation ? Has he merely crammed the meaning from 
a book, or is it a matter of personal experience ? Is the 
rendering free from affectation ? Is it the clearest, the 
most truthful rendering of the passage possible ? The 
truthfulness of the whole passage must be felt, as well 
as the simple and natural expression of each idea. The 
reader's motto must ever be, " The truth, the whole 
truth, and nothing but the truth." A reverence for the 
truth is not merely the foundation of the scientific spirit, 
but of the artistic spirit as well. The basis of all ex- 
pression is genuineness and directness of vision with 



SELF-CRITICISM 319 

sincerity and simplicity. The reader must not only have 
the truth, but he must see the truth for himself ; he 
must enter into a personal realization of the meaning 
and spirit of the passage. He must not only do this 
in preparing the lesson, but realize it at the moment he 
interprets it to others. All true appreciation and expres- 
sion must centre in a genuine, direct realization of life. 

All great art is simple. The ability to be simple, 
honest, and truthful is the supreme measure of the 
artist. Fine elocution is worse than fine writing. There 
must be no stiltedness, no straining for effect. The 
primary questions for the reader to ask himself are — 
Do I realize this passage ? Do I see every scene as if 
I were there myself ? Are the characters about which 
I read and whose words I quote, really men and Women ? 
Do I simply and directly express the activity of my 
own thinking, my own imagination ? Do I reveal the 
experience of my own heart in response to the truth ? 

Second, all nature has organic life and all art must 
suggest unity. Wherever there is chaos there can be 
no art. Sudden and abrupt breaks or chaotic explosions 
are always wrong. Every work of art must show 
intensity and unity of life. Every modulation of the 
voice, every touch, every change of pitch and inflection, 
every subordination and transition must be in unity with 
the spirit of the whole passage. 

Unity is not sameness. It implies variety and a 
diversity which is the result of organic life. All art 
must show relationship and kinship of diverse parts to 
one centre. 

Life reveals energy through its whole organism. 
When a man is asleep, his foot or his hand may hardly 



320 THE SERVICE 

seem to belong to him. When he is awake, there is life 
in every part of his body. Every animal shows unity 
in proportion to the accentuation of life, and where 
there is greater unity, there must be greater variety. 
The greater the unity the greater the suggestion of 
centrality and opposition among all the parts, and pos- 
sibility of activity and variation. We can hardly make 
too much of this principle in reading the Scriptures. 
Unity is either violated by too great sameness, or the 
endeavor to introduce variety causes chaos and sudden 
transitions which destroy unity. Unity must be secured 
by being genuine ; " No one ever thinks or feels monoto- 
nously," nor, we may add, chaotically. Unity results 
from a real living of the passage. 

A third test, one very close to this, is the fact that in 
truthful, natural expression, the accentuation of one 
modulation of the voice must bring all the others into 
greater activity, while a wrong accentuation of any one 
of these or the use of a weaker modulation, will make the 
other modulations impossible. For example, we may 
emphasize by inflection or by loudness. Which is the 
best method ? The ranter will say that mere inflection 
is tame ; that it lacks interest and force. It may be 
hard to convince him that his loudness is crude and 
vulgar, that inflection appeals to man's rational nature, 
and awakens thinking, and tends to bring into harmony 
pause, touch, change of pitch, color, and movement, 
while loudness tends to eliminate all these natural 
means of expression. But observe that an emphatic 
inflection requires also a stronger touch and greater 
changes of pitch and longer pauses. It is not in any 
way antagonistic to the deepest feeling or to the modula- 



SELF-CRITICISM 32 1 

tions of the texture and color of the voice, and is in 
perfect sympathy with the free modulation of rhythmic 
movement. 

This furnishes a very simple and practical test or 
demonstration, by means of which the reader can him- 
self realize the specific function and relative rank and 
correct use of any expressive modulation of the voice. 
He will find that loud explosions or ministerial tunes 
are not only undignified and ignoble, but that they 
destroy the natural unity and cooperation of all the 
normal expressive modulations of the voice, while on 
the contrary, the accentuation of any true fundamental 
element will bring all the others into cooperation. 

Fourth. As every Scripture lesson in its very nature 
is an endeavor to awaken the ideals of men, it, therefore, 
should be as ideal and noble as possible. Even when 
weaknesses or abnormal characters are referred to, they 
are always introduced in contrast with what is ideal and 
noble. Whatever, therefore, in the practice of a lesson 
tends to weaken the expression of a thought or emotion 
should be avoided, while whatever suggests power or 
presents a higher ideal of a truth or aspect should be 
adopted. 

Emotion may be expressed, as has been shown, as 
either strong or weak. (See p. 36.) Pathos is a good 
example. A weak man will express pathos passively. 
He does not try to control, but yields to despair, and 
expresses the prostration of grief with minor inflections, 
while the strong man, on the contrary, wrestles with his 
emotion, has more breath than usual, straight inflections, 
greater decision of touch, and a softening of the texture 
of the voice. 



322 THE SERVICE 

This principle applies to any means of expression. 
Take earnestness, for example. Men are apt to express 
it on a physical plane. A doubled fist, a crumpled brow 
are often seen, and a high pitch, a loud, labored tone 
are often heard as the expression of animation. But 
true earnestness is sympathetic. It reveals itself by 
the harmonious activity of the whole nature ; it increases 
and varies the mental action, multiplies the number of 
pauses, the length of inflections, and unites all the 
modulations. It extends the form and range. There 
is more intense movement and feeling, for the deepest 
and most profound energy increases activity at the 
centre. Energy is " inward," earnestness holds force in 
reserve, and only suggests its power by the simplest out- 
ward sign. When all activity seems to be on the out- 
side, no genuine earnestness is suggested. 

Bible reading often accentuates weakness. What is 
pathetic is made weak, not heroic. What is tender is 
made sentimental rather than intensely tender. Earnest- 
ness is often confused with antagonism, sympathy with 
pity. The reader of the Bible must have a strong 
realization of the rank of different emotions and the 
instinct of expressing them, otherwise he will be continu- 
ally stepping down from the high to the low and suggest- 
ing what is weak rather than what is strong. 

Fifth. Delsarte's first test was exaggeration. 
" Accentuate the fundamentals," said he, "and you will 
have power; accentuate accidentals, and you develop 
mediocrity and show weakness." This is a very impor- 
tant principle, and can be shown to cooperate with all 
those which have already been explained. It has an 
infinite number of applications. Delsarte's application 



SELF-CRITICISM 323 

was to the actions of the body, but it applies to vocal 
expression as well. Exaggeration serves as the test of 
the difference between the accidental and the funda- 
mental in all artistic following of nature. If a man is in 
doubt which is the centre of a sentence, he can discover 
it by exaggerating emphasis. A wrong emphasis will 
at once suggest a wrong antithesis, and will lead the 
mind astray from the real point. 

Notice that this principle tests imitation and shows 
why it is weak. Imitation is always an aggregation or 
mere assumption of accidentals. True delivery can 
never be developed by attention to accidentals. Ac- 
centuating accidentals produces artificial and mechani- 
cal results. The accentuating of fundamentals, on the 
contrary, secures self-control, naturalness, and power. 
A teacher who cannot distinguish and develop funda- 
mentals may secure a seeming improvement, but it will 
not be permanent, and in the end will prove to be 
injurious. Accentuation of fundamentals secures the 
higher freedom of the man. It does not tie him down 
to rule, but shows him the possibility of free modulation 
and use of all his powers and modes of expression. 

Applying this test, we find that increase of inflection, 
accentuation of change of pitch, prolongation of a pause, 
greater decision of touch, a change in movement, greater 
variety in color, each and all add power. They show a 
greater inward life, while the accentuation of a circum- 
flex inflection will pervert and render undignified the 
simplest speech. The accentuation of an unnatural drop 
or some element of a ministerial tune will develop weak- 
ness at once. The fundamental elements of conversa- 
tion must be accentuated, for, upon the increase of 



324 THE SERVICE 

these fundamental elements all effectiveness in vocal 
expression depends. Only by the accentuation of these 
elements can any tune be corrected. 

Sixth. In all nature there is a suggestion of cen- 
trality, a mystic centre of repose. It must be shown 
that all form is force ; that in all expression, outward 
manifestation is the result of inward fulness. Expres- 
sion in nature is always an outward effect of an inward 
cause. Nature always acts from within, outward. At 
the centre there is a mysterious suggestion of repose or 
a reserve. These principles must apply directly to 
vocal expression. Whenever there is any straining 
for effect, whenever there is some sudden and unusual 
effort to make a point, everything becomes unnatural 
and ignoble. The noble expression shows that activity 
at the centre causes activity at the surface. The elocu- 
tion that calls attention directly to itself is false, and 
violates the fundamental spirit of art. True art con- 
ceals itself. True language is transparent. When lan- 
guage is not transparent, it is a hindrance, for it hides 
what it ought to reveal. True expression centres atten- 
tion upon the idea, upon the thought, and not upon the 
manner, and he who draws attention to manner violates 
the fundamental law of all language and expression. 
All labor and straining for effect or exhibition are 
antagonistic to expression. Expression is a living soul 
acting in such a way as to bring another into unity with 
its own processes. The application of this to Bible 
reading is very important. A reading which shows 
anxiety, which does not emphasize repose, or show 
reserve, should be avoided. Repose is always charac- 
teristic of great art. It must not, however, be confused 



SELF-CRITICISM 325 

with tameness. It is a sense of centrality, the subordi- 
nation of all that is accidental, and the accentuation of 
what is fundamental. 

Seventh, Suggestiveness. All noble expression ap- 
peals to the mind, and not the eye or ear. "The art 
of expression," said Goethe, " is the art of intimation." 

In proportion to the dignity of art is its suggestive- 
ness. The nobler the expression, the more it appeals 
to the higher faculties. That which is literal is always 
low. The Bible reader must express " the infinite," 
and, therefore, " he must suggest infinitely more than 
he expresses." True art appeals to the imagination. 
It takes for granted that men are of the same nature, 
and that they can enter into communion with each 
other. Expression is neither reproduction nor imi- 
tation. We cannot give our emotions to our fellow- 
men. We can only give a hint to awaken in their 
minds the same emotion because they are of the same 
nature. All appeals to the imagination are delicate. 
On a sense plane all things are literal. All low art 
appeals to the senses. The higher the art the more 
suggestion of — 

" A deep below the deep, 

And a height above the height. 
Our hearing is not hearing, 
And our seeing is not sight. 1 ' 

The sublimer the art, the more suggestive. Hence, 
Scripture reading, which aims to touch and awaken the 
higher spiritual faculties in man, must obey the law of 
suggestion. On a literal plane, expression is extremely 
limited. On the higher plane, man can suggest infinity ; 



326 THE SERVICE 

he can express God ; that is, he can intimate to another 
the impression, the attitude of mind or emotion, that is 
awakened from repose to the sublimest ideas by the law 
of sympathy. 

True expression is a manifestation, an intimation ; not 
a reproduction. It is revelation rather than representa- 
tion. The reader must reveal the impression made 
upon his heart; must hint at the great life which 
awakens in contemplating a scene or truth. 

In accordance with this principle, the reader of the 
Bible must accentuate those clauses of Scripture which 
suggest the effects of events upon the beholder, and 
intimate the impression produced upon himself as a 
spectator. A descriptive clause, which seems at first 
insignificant, is often more important than the quotation 
which he labors so hard to represent dramatically, an 
effort that brings his interpretation down to a literal 
plane. Participation must ever justify personation, the 
epic, transcend the dramatic. Portraiture can only be 
delicately suggested, for there must be a deeper fidelity 
to the great spirit of mankind and to the plan of the 
Infinite for human redemption. In Scripture reading, 
dramatic portraiture is always subordinate to sublime, 
epic realization. In the Bible, the dramatic is found as 
a matter of contrast, and aids by opposition, but the 
epic spirit is always found at the climax. 

That reading of the Scriptures, which is literal and 
mechanical, which does not suggest the depths of the 
reader's spiritual life, is wrong ; whatever is the most 
suggestive is best, whatever is least suggestive is to be 
avoided. 

Beneath some of these tests, the reader will find 



SELF-CRITICISM 327 

those universal qualities or characteristics of nature 
that are universal laws of all art. Unity, spontaneity, 
freedom, repose, power, suggestiveness, — these must 
be characteristic of every spiritual lesson. These com- 
parisons with the characteristics of nature furnish the 
highest tests of all. The reader must have that devel- 
opment of his taste and of his intuition which will 
enable him to feel at once any violation of these 
qualities or laws of nature and art in the use of his 
own voice. 

The reader must have a vision of the lesson in his own 
heart. Where there is no vision, all is mechanical. 
He must trust his intuition. Often he will find himself 
obeying some vague or wild impulse, or find himself 
drifting in some superficial mood, unless he continually 
compares his practice with the great qualities of nature 
or those great masterpieces of human art that have 
survived all schools of criticism and fluctuations of 
taste. 



XXXII. RESPONSIVE READING 

Some specific modes of Scripture reading should 
receive attention. Among these is the reading of a 
passage at the opening of a prayer or conference meet- 
ing. It is well for the preacher to note the difference 
between such reading and that of a lesson given at a 
public service. The reading of a Scripture lesson at a 
prayer-meeting is less formal. The lesson may be 
shorter. There is greater freedom in the arrangement 
of the lesson and in its vocal expression. The occasion 
is more familiar, and explanations can be given more 
freely. The reader can make remarks, which are hardly 
dignified as a part of public worship. 

The general law, however, is always the same, and 
every principle so far unfolded is applicable also to the 
reading of a passage from the Bible at any social 
religious service. 

The responsive reading of the Scriptures, however, 
differs wholly from all other vocal interpretations of the 
Bible. Here, there is an alternate reading between the 
reader and the congregation of certain portions, espe- 
cially of the Psalms and poetical books. Such reading is 
liturgical and more closely allied to prayer than other 
modes of reading the Bible. It may bear some relation 
to singing, and, in fact, in many of the churches, the 
parts are sung alternately by leader and choir. 

What are the advantages of such reading in wor- 

328 



RESPONSIVE READING 329 

ship ? It brings members of the congregation into 
union with each other and with the leader, and causes 
all to participate in worship. It gives all a feeling that 
they have something to do, and tends to banish alto- 
gether the idea, too prevalent, that men come to church 
for mere instruction or to be merely interested. 

Responsive reading is a great aid to the preacher also, 
and helps him to forget himself and to feel himself a 
part of the assembly. It gives him a chance to awaken 
the minds of his congregation, for by his rhythm he can 
accentuate their thinking and feeling. 

The arguments against responsive reading of the 
Scriptures are that it is a mere form, that it grows per- 
functory, that it causes the people to read a psalm 
without thought, that there is necessarily so much hurry 
and rush that thinking and especially feeling are impossi- 
ble, that it becomes a mere repetition of words, eliminat- 
ing all vocal expression, that the leader himself cannot 
interpret the meaning, and hence it becomes a mere 
performance, with no spirit of worship. 

To such objections it may be said that all depends 
upon the way responsive readings are conducted. When 
they are given in the right spirit, the leader can inter- 
pret the thought and feeling of his line or verse. The 
rush and whirl are not necessary, and people may be 
inspired to read with sincerity and not to repeat as a 
mere formality. 

What are the specific peculiarities of vocal expression 
in responsive reading? The most important has already 
been referred to, — accentuation of the concentrated 
thought and rhythmic movement. Decision of touch can 
be used as a means of commanding the attention of the 



330 THE SERVICE 

audience. There may possibly be less saliency of inflec- 
tion on the part of the congregation, but the leader need 
not eliminate the most important means of emphasis ; on 
the contrary, he must give unusual accentuation to the 
chief elements of expression. There will be, of course, 
a tendency to accentuate rhythm and to use a salient 
movement similar to chorus singing. The soloist may 
change his movement and give greater flexibility to his 
expression, while the chorus must necessarily have 
more general modulations, but there are certainly great 
principles which belong to the peculiar expression of a 
chorus, though differing from the expression of the solo. 
The leader is more like a soloist, a congregation more 
like a chorus. 

In order to read responsively, the leader must lead ; 
he must give the cue to the rhythm. Otherwise the 
congregation will not keep together, and all will be con- 
fusion. He must express his thinking with great definite- 
ness ; must not drop into a mood. He must read the 
passage in some degree as prayer, but it must be none 
the less intense and vigorous in its movement. 



XXXIII. SOME SPECIAL QUESTIONS 

On the verge of undertaking the reading of the Bible, 
students are apt to ask many questions. For example, 
the reader may ask, " What version of the Scriptures 
shall I adopt ? " 

Here, again, no rule can be laid down. Where the 
King James or Authorized Version is used, there 
should be study of other versions, especially of the 
Revised Version, to find the argument or real meaning. 
It may be well to insert or change some words or 
phrases where absolute mistakes are made in the old 
version, so that the passage may really be understood 
by an audience, though such changes should be made 
with extreme care. 

There are advantages in reading the Authorized Ver- 
sion. It was one of the chief agents in establishing the 
English language. It has a marvellous rhythmic flow. 
There is a certain dignity, besides, in the old words and 
phrases, and when they convey the true meaning, why 
should they not be preferred ? For example, in Psalm i., 
why should the word " ungodly " of the old version be 
changed to "wicked" in the new? It is less poetic, 
and far less intense. Furthermore, the word " ungodly " 
can hardly change its meaning, "wicked" has already 
begun to be a joke, just as the word " naughty," which 
in Shakespeare's time was equivalent to "wicked," has 
come to be applied to children in the sense of playful 

33i 



332 THE SERVICE 

or mischievous. The Old Testament in the Revised 
Version is, on the average, a better translation than that 
of the New ; it has more freedom and flow. The sen- 
tences in the translation of the New Testament are often 
rugged. This is possibly because the New Testament 
is more familiar. Besides, the translators too often 
endeavored to follow the Greek and were too conserva- 
tive in many places, while in others they made changes 
which added neither force nor accuracy. 

In the poetical books especially, the Revised Version 
is sadly deficient. Only a poet can translate such 
poetry. There is a need of vigorous, suggestive words. 
The most daring figures are often translated with 
abstract and commonplace terms ; besides, the argument 
is often obscure. There is almost as little clew to the 
meaning of Isaiah and many of the prophets as in the 
old version. The book of Job is still very poorly trans- 
lated. If ever poets with the necessary scholarship 
undertake the translation of the poetical books of the 
Bible, we may have a good version, but none as yet 
gives the true poetic spirit. Nevertheless many will 
feel that the Revised Version is on the whole the best 
available. With practice and familiarity in reading it 
aloud the sense of its imperfection disappears, and 
the reader will soon grow to feel its superiority over the 
Authorized Version. The American is better than the 
English Revision. It is more modern in its language, 
and will be found more in accord with the latest and 
best scholarship. 

One of the best translations of the Psalms was that 
in the so-called " Parchment Series " by Dr. Cheyne. 
This was made when he was young and dared to be 



SOME SPECIAL QUESTIONS 333 

poetic and suggestive, but in his later work he is so 
scholarly and critical that the poetry of his earlier ver- 
sion is often lost. 

The version to be used must depend upon the occasion, 
the reader, or the audience. Some preachers take as 
late a translation as the Twentieth-century New Testa- 
ment, on account of its giving the argument so clearly, 
especially that of the epistles. Others may even ar- 
range from many translations one better adapted to 
their ideas. It is a great help in getting the real spirit 
of a passage for a reader to do some work himself in 
translating. 

Although the reverence of some people may be dis- 
turbed by new translations, yet most educated Christians 
have outgrown such fastidiousness and prejudice. All 
depends upon the spirit of the reader. Some find it hard 
to give true reverence to a new version. Each person, in 
fact, must select the version and arrangement best suited 
to his feeling and power of interpretation so far as he is 
permitted by the authorities of his denomination and the 
feelings of his congregation. 

Again, the question will be asked, Should the reader 
make comments on his passage as he goes along? No 
rule can be laid down. Spurgeon read the lesson very 
familiarly, and did make comments. Other great preach- 
ers read the passage so subjectively and so much to 
their own soul that a word of comment seemed almost 
like sacrilege. Beecher, on rare occasions, made a few 
telling and suggestive remarks. There is a grave danger 
in the practice for most readers, — danger of adopting a 
gossiping attitude of mind, — quite foreign to worship. 
Preachers in our day are quite apt to adopt a mere teach- 



334 THE SERVICE 

ing attitude, and fail in dignity. Still all depends upon 
the audience, the occasion, and the man himself. 

Nearly every student asks the question, Shall I make 
gestures in reading the Bible ? 

Gesture is the least dignified form of pantomimic 
expression. The question should accordingly be an- 
swered, No, no gesture ; but if you mean action, Yes. 

The reader who is stirred by emotion, and expresses 
the impression produced upon him, will expand and 
feel a modulation of the texture of every muscle in his 
body. He may not look up ; there may be no motion of 
head or hand, — that will be rarely if ever allowable, — 
but the expression of his face and body will indicate his 
feeling. 

Emotion tends to waste itself in motion. So a digni- 
fied speaker makes less gesture than an undignified one. 
Motion is the weakest form of action. Mere transitory 
motions express mere transitory sensations, and denote 
a lack of deep feeling. But emotion may be retained. 
In this case, it diffuses itself through the whole body, 
causes strong expansion everywhere, and modulates the 
texture of the muscles. This bears an important relation 
to the voice. When this diffusion of emotion through the 
whole body is free, there is modulation of tone by feeling. 
Pantomime will always affect in some way the vocal ex- 
pression. Inflections are the gestures of vocal expression, 
as the gestures of the body are the inflections of pan- 
tomime. The attitudes of the body are directly co- 
ordinated with the modulations of tone-color. Jerky 
motions of the body make the vibrations of the voice also 
irregular. Noble, sustained attitudes make possible 
noble modulations. 



SOME SPECIAL QUESTIONS 335 

When the reader feels what he reads all through his 
being, his whole body will sympathetically expand with 
it ; but he will rarely feel like making gestures, and this 
for perfectly natural reasons. Gestures indicate the 
relations existing between one human being and an- 
other, or express transitory emotions on a passionate 
plane. But the reader of the Scriptures feels his rela- 
tion to God, hence the ideas awaken a condition in him 
rather than a desire to define or explain. The soul ex- 
pands, the man becomes erect and dignified, but the 
reading is too subjective for an objective mood of 
expression like gesture. Man makes few gestures in 
soliloquy or when alone. He makes few gestures when 
experiencing deep feeling ; he is more apt to make ges- 
tures in objective moods or in antagonism in explaining 
something to his fellow-man. 

There is a tendency with many preachers to make 
undue gesture with the head, which is fully as bad as 
gestures with the arm or worse. The continual bobbing 
of the head indicates a chaotic state of being, a one- 
sided intellectual or nervous action, and is very inappro- 
priate to the reading of the Scriptures. The reader of 
the Scriptures must always stand still. This is the most 
expressive action of a human being. To stand in an 
expanded condition of animation and earnestness is the 
most dignified thing a human being can do. 

Scripture reading is subjective and brings the soul 
into relationship with God, and hence rarely admits of 
gesticulation. The effect of gesticulation would rather 
indicate that the reader was not in the true spirit of 
worship. 

There are, however, exceptions. It will be noted that 



336 THE SERVICE 

the speaker gesticulates in quoting a passage of Scrip- 
ture as freely as in any other part of his sermon. The 
reason is that he is now in an intellectual attitude of 
mind. As a rule, he is quoting the passage to establish 
some point ; he is proving something, or describing 
something, and, at any rate, his attitude has direct 
relationship to his audience. 

Still another question will come up at the threshold 
of the service, How can I use my voice ? Will you lay 
down definite rules when to breathe ? 

The subject of voice is a difficult one and is better 
discussed in another work, since it requires far more 
technical discussion than the plan of this book admits. 
The right use of the mind, however, and right expres- 
sion tend to affect even the production of tone. Note a 
few examples : A serious fault in the use of the voice is 
breathing too seldom. This is best corrected by the 
individualization of attention, or the specific conception 
of successive ideas. Again, the accentuation of dis- 
crimination and variation of the mental attitudes will 
tend to correct that inflexibility of voice which is a very 
common fault. As actions of voice are determined by 
actions of mind, and the greatest faults of the voice can 
be traced to the wrong actions of the mind, right mental 
action will tend to correct faults of voice. 

It is best, however, in the study of expression not to 
mix up the great problem of the right use of the voice 
with the study of vocal expression or to give too much 
attention to the right use of the modulations of the voice 
while studying vocal training. 



XXXIV. HARMONY OF THE SERVICE 

The fundamental law of all art is unity. The aim of 
all art is to produce an impression of truth upon the 
imagination and feelings. This is also the aim of the 
service for worship in the Christian church. When 
ancient liturgies are carefully studied, we find they 
exhibit a peculiar dramatic movement. 

There is, however, a tendency to make a church ser- 
vice monotonous. This is more marked when the service 
is conducted perfunctorily, when the leader does little 
more than "officiate." Monotony results also from 
mere drifting, from feeling without thinking, or feeling 
the general situation without realizing each specific step, 
and still oftener from a lack of definite purpose, or desire 
really to cause a definite impression. 

Why do preachers fail to recognize the richness of 
material which lies ready for use as a means of impress- 
ing their fellow-men ? Why is there so little study of 
the laws of art ? Why do some preachers make every- 
thing of the sermon and others of the service ? Are 
these antagonistic ? Why do some arrange a monoto- 
nous, stilted, or spectacular service ? All art begins in 
rhythm and unity, and he who will make the most of his 
opportunities will study each part of the service for its 
own sake. Why not vary the service ? Why not intro- 
duce a moment of silence? Why not use all noble 
expressions of human feelings in awakening the hearts 
z 337 



338 THE SERVICE 

of men ? The service is not an end but a means. It 
must be adapted to the preacher himself, to his congre- 
gation, to his building, to his choir, to his possibilities ; 
but why should attention to the effective reading of the 
Scriptures, or to the intense and true expression of any 
part of the service, be thought to detract attention from 
the sermon ? Every part demands attention, must have 
its own distinct character, and must be emphasized at 
times in order that a higher, broader harmony may be 
secured. 

If all parts of the Christian service be carefully ob- 
served, it will be noted that while each has many varia- 
tions, yet it requires an attitude of mind distinct from all 
the others. How simple and even utilitarian is the 
announcement of the hymn ; it is a mere statement, yet 
deserves careful study, for it gives the leader a means 
of testing the size of the room. By speaking to those 
farthest away, he may test the command of his voice, 
also know that he is heard and feel even the character 
of his audience. 

But how different is prayer ! Here the leader enters 
into mystic contemplation and communion with God, 
and not for himself alone, but to lead and to impress 
the devotions of others. A man who can repeat the 
sublime words of public prayer in a cold, intellectual 
tone, the same as that used in announcing a hymn, has 
little imagination or sympathy, and scant perception of 
the spirit that leads Christian men and women "to 
assemble and meet together " for praise and thanksgiv- 
ing, for prayer and confession, for the inspiration of 
preaching, and the instruction of the Word of God. 

In the sermon, as has been shown, there is more 



HARMONY OF THE SERVICE 339 

intellectual and direct communion of man with his fel- 
low-men. The speaker must assume an oratoric atti- 
tude distinct from that of prayer or Christian song. 

In reading the Scripture lesson, the mental attitude is 
still different, the feeling is not the same, the vocal 
expression is simpler. The leader is interpreting the 
sublimest records of the experience of his race. He is 
using the voice of authority, and is leading men to 
realize the divine will. 

The service as a whole must have unity. All parts 
of it should harmonize. But unity is not monotony. 
Not only should there be a distinct attitude of the mind 
in each part of the service with distinct lines of emotion, 
but these should be so accentuated in direct contrast as 
to introduce a higher harmony, for harmony is " the 
reconciliation of opposites." Harmony both of grada- 
tion and of contrast are found in the conduct or move- 
ment of the service. There are no violent mechanical 
discords, but now slow, strong progression, and now 
decided transitions and changes in points of view. 

The leader must be careful of the very first words he 
utters. No matter what these words may be, — the an- 
nouncing of a hymn, the call to prayer, or an introductory 
sentence, — he must secure the attention of his hearers. 
There must be a direct appeal of soul to soul. The 
study of the room, the testing of the voice, must be in 
the background of consciousness. The attention of all 
must be directed, not toward the leader himself, but 
inward, not to themselves, but to the Infinite, All-know- 
ing, All-working, Ever-present Spirit. 

All such directions must be expressed with dignity 
of touch and inflection, — no cold, hard, didactic tones. 



340 



THE SERVICE 



In simple directions or explanatory phrases, as few 
words as possible should be used. Often a mere 
gesture is all that is needed. When the words are pre- 
scribed, they should be given with simplicity, dignified 
rhythm, and definite touch. 

Great carelessness is often observed in the announce- 
ment of a Scripture lesson. There is no apparent 
recognition whatever of the real title of a book. It 
would certainly be regarded as undignified if the Presi- 
dent of the United States, on being introduced, were 
called by the nickname of his boyhood, or merely by 
one part of his name. The cold and careless way in 
which book and chapter are announced often uncon- 
sciously affects the reader. He is unable to attain the 
proper attitude toward the passage he is trying to read. 

Possibly the best way to perceive the harmony of the 
service is to study liturgies or forms of worship. These 
show the nature of devotion and the relations to each 
other of the various functions the minister is called upon 
to discharge. They embody also the traditional ideas 
and ideals of men regarding worship. The most con- 
venient and accessible to all is the order of exercises in 
the English Prayer-book. 

The Book of Common Prayer was the product of the 
undivided Protestant movement in England. The most 
beautiful passages were written in 1549 or 1562. It is 
the outgrowth of the whole history of Christianity. 
Cranmer had, possibly, more to do with the book than 
any other one man. Many of the parts, especially the 
post-Reformation Collects, are permeated by the Puritan 
spirit. Thus, the Book of Common Prayer should have 
reverent attention from every one. It belongs to no de- 



HARMONY OF THE SERVICE 341 

nomination. A modified form of it was used at one time 
by the Presbyterians. John Wesley made an arrange- 
ment of it for the Methodists which, with the exception 
of one branch, they do not consider worth printing. 
Because it is used by the Established Church of Eng- 
land and the Episcopal Church of America, should not 
prevent Christians of whatever name from feeling that 
it belongs to the whole church. 

The Church of England edition of the Book of Com- 
mon Prayer says in the preface, " That particular forms 
of divine worship and the rites and ceremonies appointed 
therein are in their very nature alterable, and are so 
acknowledged ; and it is reasonable that those in places 
of authority should make such changes therein as shall 
be deemed expedient." Without considering the history 
of the alterations in the past, or accepting the results at 
present found in the book as the best possible, the ordi- 
nary morning service may be taken as an illustration of 
some of the elemental offices and functions which should 
ordinarily be included in a service for worship, and the 
different modes of vocal expression which should belong 
to each. 

In this order of worship, the leader first repeats sen- 
tences selected from the Scriptures. The idea beneath 
these sentences is, of course, the call to worship, an in- 
vitation for men to enter into the spirit of the service, 
an exhortation, or the presentation of an encouraging 
thought in the expression of a true conception of God 
or the sense of His presence. 

These sentences should be spoken with a slow, intense 
rhythm. The first clause in the first sentence used 
demands definite attention on the part of the leader, 



342 THE SERVICE 

even though he may not turn to the people. The idea 
must be so expressed as to awaken a response in the 
minds of all present. 

The sentences appointed are not all equally well 
adapted for this call to prayer. Different occasions 
demand different sentences, a circumstance which has 
been recently recognized, and has led to formal divisions 
of these sentences ; but the leader should be free to 
choose his sentences, and to read them in such a man- 
ner as to awaken a common perception of the thought 
and its appropriateness to the specific occasion. Usu- 
ally a passage that is lyric is best. 

The reading of the sentences should secure the atten- 
tion of the entire audience. The reader must give ex- 
pression to their thought and feeling. His primary aim 
is to bring all minds into the spirit of worship. Intro- 
ductory sentences must not be given as mere instruction, 
or as appealing merely to the intellect. They are 
spoken in a very impersonal way in order to lead all to 
recognize the presence of God. 

In denominations where introductory sentences are 
never used in public worship, there is generally a silent 
meditation before the service, which takes the place of 
these spoken utterances. The preacher himself some- 
times leads others to enter into silence with him, and 
thus realizes that which the Prayer-book objectively 
embodies. Possibly every Christian congregation has 
been trained to engage in this silent prayer, before any 
introductory call, or invitation, or anything belonging to 
the exercise of common worship has been objectively 
initiated. Devotion must, first of all, be silent. Just 
before the service a suggestive pause is necessary, 



HARMONY OF THE SERVICE 343 

whatever the form, order of exercises, or whatever 
words may be said. Even introductory sentences 
lose their meaning without this silent preparation. 

The Address to the people, which next follows, marks 
a great contrast to the introductory sentences. Many 
leaders of worship, in the introductory sentences, turn 
toward the altar, while in addressing the people, there 
is a mental and bodily turning toward the audience. 
This address to the congregation is the most intellectual 
and didactic part of the service. It is almost colloquial, 
and should be given more rapidly and pointedly, with 
less of the lyric element than is found in any other part 
of the exercises. It should, however, be delivered with 
specific and definite purpose, not as a cold, didactic, or 
artificial form. There should be an accentuation of the 
rhythm of thinking, together with a wide accentuation 
of the range of voice, to dominate the attention of every 
one present. 

The General Confession, which immediately follows 
this address, is strongly lyrical, full of intense feeling 
and reverence, and must be rendered more slowly than 
the general address. It is a general and a personal con- 
fession. It is placed at the very beginning of the ser- 
vice as the first common expression of thought and 
feeling. It demands great strength of touch and a vig- 
orous accentuation of rhythm. The leader must avoid 
rigidity and be fully capable of direct aspiration and 
expression of the soul. 

In many denominations, where strong antagonism to 
the formality of such a service has existed, there has 
grown up a custom of repeating together the Lord's 
Prayer at the beginning or near the beginning of the 



344 THE SERVICE 

service. The repetition of this prayer must be gov- 
erned by the same principles as the General Confession. 
Common prayer, or the use of the same words by a 
large number, demands leadership. Even the repeti- 
tion of the Lord's Prayer requires the accentuation of 
rhythm. There must, in short, be genuineness of ex- 
pression with a fuller and more sympathetic movement 
of ideas, greater regularity of pauses, and a perception 
of the unity of all hearts in the act of worship. 

The absolution by the leader alone, which follows the 
confession, while the people are still kneeling, exhibits 
another marked contrast. The whole attitude of the 
leader of worship is tested by this prayer. To my mind 
it is usually the most poorly rendered of all parts of 
this fine but often mangled service. It must not be 
given on the commonplace plane, nor on the plane of 
the discursive intellect ; it is a spiritual message. It is 
felt by many non-liturgical churches to be irreverent, 
because the leader seems to assume the functions of the 
Almighty. But this objective representation or expres- 
sion of the remission of sins or of the promises which 
are the foundation of the whole Bible, when given in its 
true spirit, need cause offence to no one. It is, however, 
usually given with intellectual coldness, as a kind of 
official utterance applying only to the people, unless 
the leader realizes that the thoughts and expression 
apply as well to himself as to others. When rendered 
in the same spirit as the Address to the people which 
precedes the General Confession, a total misconception 
of the nature of worship and of the spirit of common 
prayer ensues. It should be given more slowly, with a 
subjective and personal realization of the thought. 



HARMONY OF THE SERVICE 345 

Then follows the Lord's Prayer, usually repeated in 
too formal and mechanical a way, and rarely made a 
climax of the General Confession and Declaration, as it 
should be. The Lord's Prayer at this point should be 
the deeper realization of the soul's attitude toward God. 
It is not full of penitence, like the General Confession, 
nor of the spiritual contemplation and acceptance of 
the Declaration, but of still deeper, more joyous realiza- 
tion, a more intense and varied activity of both thought 
and feeling. Because this Prayer is so familiar, there 
is a tendency to give it even more formally and mechani- 
cally than any other part of the service, and with greater 
speed. The leader, however, can change all this by 
example. Possibly the Lord's Prayer is repeated me- 
chanically in the ordinary service on account of the for- 
mality and objectivity of the leader's method of giving 
the Declaration. How often does the leader's cold 
officialism cause a shiver ! If the Declaration be given 
with intense subjectivity and spiritual realization of 
God's presence and love, the people will repeat the 
Lord's Prayer with greater reverence, deeper devotion, 
and more intense feeling. They will give it more 
slowly if the leader sets the example. The preacher 
can know the genuineness and spirituality of his Decla- 
ration by the effect it produces upon the congregation 
in their repetition of the Lord's Prayer. 

The Psalter, or responsive reading, is totally distinct 
in character from the preceding exercises. The general 
nature of responsive reading and its importance have 
already been discussed. But a few words may be added 
as to its relation to the other parts of the service. 

The reading of the Psalter is not a mere intellectual 



346 THE SERVICE 

interpretation. It is intensely lyrical and full of exalted 
feeling. In fact, only lyrical passages are properly 
adapted to responsive reading. In the reading of these, 
the leader must accentuate thinking and feeling, and all 
the elementary modulations of the voice, in such a way 
as to provoke united response from the congregation. 
The alternation between the speaker and the audience 
is itself a form of rhythm corresponding to the parallel- 
ism of Hebrew poetry, which may have had its direct 
expression in the ancient alternation of the Temple 
worship. 

The peculiar function of the Psalter seems to be to 
secure a greater union of the congregation, and an alter- 
nation or harmony with the leader in the act of worship. 
The General Confession and Declaration and Lord's 
Prayer are more personal and introspective, and, hence, 
are given kneeling, while in the Psalter all stand. 

In rendering the Psalter there is great danger of 
dragging. In large congregations, some persons will be 
found far behind the leader, and confusion and chaos are 
apt to reign. This is a difficulty which the leader must 
overcome, because if he waits till all have finished, it 
destroys the rhythmic continuity of the service. And if 
he begins too early and runs too rapidly, he makes the 
exercise anything but rhythmic or devotional. Usually 
the leader keeps the audience along with him, by begin- 
ning the next verse immediately after and even before 
the audience has finished. It is a very dangerous prac- 
tice, as it induces chaos and mere hurry on the part of 
the congregation. Hurry must in any case be avoided. 
The leader's intense rhythmic movement should be so 
accentuated in the lines rendered by him as to give 



HARMONY OF THE SERVICE 347 

a key and unite the congregation, for as he thinks and 
reads, so will they. One who accentuates hurry instead 
of the strong, long, rhythmic pulsations, knows little of 
the deep significance of rhythm or its power to bring 
men into unity of thought and action. The leader must 
lead and secure the response of all. As the drum-beat 
brings an army into unity of step, so must the reader's 
touch unite all minds and voices. 

The reading of the Psalter should be of great assist- 
ance to the leader in securing self-control and bringing 
himself and others into the higher spirit of the service. 
It establishes more completely what psychologists call 
" the aggregate mind." 

The reading of the Scripture lesson marks another 
transition and progression. The reading of the Psalter 
corresponds somewhat to the General Confession, 
though there are important differences. In the Gen- 
eral Confession, the leader and the people speak together 
and are one ; in the Psalter, there is alternation, and 
often exhortation and answer. As in passing from the 
personal and human attitude of the Confession to the 
Divine point of view in the Declaration, so in passing 
from the Psalter to the Scripture lesson there is corre- 
sponding change. In the Scripture lesson, the leader 
more directly conveys an interpretation of the divine 
will, than in the Declaration. The people are not 
kneeling, however, but sitting. They are in a calm, 
listening attitude. The leader appeals not solely to the 
spiritual nature, but to the whole being ; he interprets 
the words of the Bible to mind and heart. Out of 
the deep peace resulting from a true participation in the 
other exercises, he enters into a reverent realization of 



348 THE SERVICE 

the divine will, and leads the people into the spiritual 
contemplation of a great message. It is less lyric and 
is possibly less personal in feeling; but thinking and 
emotion are far more varied, and the realization and ap- 
plication of the truth to the individual mind should be 
more pointed and emphatic. 

Why should the reading of the Scriptures be the 
tamest part of the service, as it usually is ? Why should 
the congregation sit back seemingly to take a rest ? 
Why should it be necessary to introduce the finest 
music between the two lessons to relieve the monotony ? 
Why should not the Scripture lesson be the climax of 
all that precedes, rather than an interlude, a progression 
and not a relaxation ? It is widely different in character 
from all that has preceded, but this does not imply that 
it is less important. It means that another part of man's 
nature is made to participate in worship ; that all parts 
of his being are brought into harmonious activity in 
order to perceive the great plan of human redemption. 
The leader can now appeal to reason as the basis of his 
authority. 

In the transition from the Old Testament to the New 
Testament lesson, there is always more or less of a 
change. In the former, there is an aloofness, a feeling 
of distance, the dignified spirit of the Law, while in the 
latter, we are brought into Christian realization, or nearer 
our own experience. All the reading centres in Jesus. 
In the one, we come into realization of Jehovah, God ; 
in the other, into a realization of Christ. We come to 
know, not the Father only, but also the Son, in all the 
broad significance of that expression. 

The repetition of the Creed, which follows the Scrip- 



HARMONY OF THE SERVICE 349 

ture lessons, is an exalted expression of the human 
realization of the meaning of the Scriptures and of 
human life. It returns with strange correspondence to 
the repetition of the Lord's Prayer, in the earlier part 
of the service. These parallelisms, or rhythmic repeti- 
tions, are among the highest characteristics of great art. 
The repeating of the Creed should be suggestive and 
reverent, not formal or mechanical. It should be, of 
all parts of the service, the least artificial. It is a state- 
ment of human beliefs and convictions, a summary of 
results. In the Lord's Prayer we use words appropriate 
in addressing One who knows the needs of men. In 
the Creed, man desires to put into words and to affirm 
simply his convictions of truth. Notice that all repeat 
the Creed together. The repetition should be very 
suggestive and personal. 

Then, after the alternate sentences, short and simple, 
between leader and people, there follow prayers, indicat- 
ing a fuller perception of life and the relations of the wor- 
shippers to God and their fellow-men. These prayers are 
less personal, or at least less penitential, than the General 
Confession or the Lord's Prayer, and are the expressions 
of the soul's aspirations and more specific desires. 

The vocal expression of prayer is a subject requiring 
great delicacy of treatment. One hesitates to speak of 
it in cold blood, or as a subject for analysis ; but it is a 
distinct form of vocal expression. It centres in the 
aspirations of a living soul for a sense of the indwelling 
presence. It is the most intuitive, subjective, and spirit- 
ual of all human modes of expression, and when spoken 
on the commonplace or even intellectual plane ceases to 
be prayer. It moves in the realm of the lyric realiza- 



350 THE SERVICE 

tion of the soul. Thinking, imagination, and feeling are 
all awake ; the soul is realizing its Source. 

Prayer consists not in words, but in an attitude of the 
soul. Vocal expression is the only mode of expression 
which can reveal this deep, spiritual attitude. If any one 
fails to see the dignity of vocal expression, let him study 
the true nature of prayer. Words alone can never 
constitute prayer. 

When the Litany is read, it is, of course, a portion of 
the prayer, and is a return to the more lyric response of 
leader and people. It is intensely devotional, and this 
alternation is upon a higher plane than the Psalter. It 
is more intensely emotional, more exalted and spiritual. 

These are the main elements and transitions which 
enter into the ordinary parts of the service, but there 
are others of importance. For example, there is the 
great difference between the Gospel and the Epistle for 
the day. In reading the Epistle, the people are seated; 
it is a familiar, colloquial discussion of the spiritual life, 
an important part of the rhythmic alternation of the ser- 
vice. When the Gospel is read, the people all rise, thus 
making a transition to a more reverent attitude of mind. 
It is in a certain sense a repetition of the Scripture les- 
son but on a more exalted plane. 

In rendering the Commandments, there is a call for 
great dignity. These Commandments should be ren- 
dered subjectively rather than objectively. The reader 
should show perception of their spiritual meaning. He 
must repeat them, not as a king, but as a subject. There 
is a great accentuation of all the elements of dignity. 
The changes of pitch and inflections, though greatly 
extended, are regular and dignified. The touch is also 



HARMONY OF THE SERVICE 351 

specially definite, the rhythmic movement accentuated, 
and there is sustained dignity in the resonance of the 
voice. 

A remarkable transition occurs also at the words, 
" Hear also what our Lord Jesus Christ saith." This 
clause should be given with the feeling that the race has 
arrived at a new dispensation. It is more suggestive ; 
we have passed from the outer law into the inner power, 
from the external to the inner Kingdom. We are com- 
ing face to face with the indwelling spirit which lives at 
the heart of the words of the Master. Too frequently 
this is given with the same tone and weight as the ten 
external and negative Commandments. Nothing in the 
whole service is more important or more liable to be 
overlooked than the transition from the outer to the inner 
law, from the letter to the spirit, from the outer observ- 
ance and negative rules to the inner, positive life. There 
should be a great change of key, color, and movement. 

The great dangers in rendering the service are for- 
mality, a cold and artificial presentation of the words, a 
monotonous attitude of the mind, and a failure to realize 
the deep significance of each step that is taken. A 
reader must realize the true office of leadership, the 
necessity of changing the point of view, and of entering 
into a higher and more spiritual realization of the soul's 
relation to God. 

In the rendering of the service, two great faults are 
especially to be avoided. On the one hand, the service 
may be rendered in a mood, without genuine emotion 
or transitions and more or less in an affected kind of 
monotone. The opposite fault makes the reading cold, 
formal, and negative. 



352 THE SERVICE 

Two theological seminaries in the United States re- 
spectively represent these two faults. You can tell 
from which seminary a preacher comes by his manner 
of conducting the service. These faults often last 
through the entire life of preachers, but are more 
noticeable when they first come from the institution. 
The faults are equally bad. One represents a mood 
without thought, the other superficial thought without 
feeling. 

Each idea of the service must be genuinely conceived 
and felt. There must be no affectation, no formalism. 
Everything must be genuine and true. He who cannot 
make the words of the service the expression of his 
inner life, ought not to read it. He who cannot make 
the words of the service a means of leading other men 
into a deeper and truer appreciation of the relation of 
the soul to God, should not undertake to render it. 

No matter what may be one's personal prejudices 
against the Prayer-book, a study of its profound signifi- 
cance will be helpful to any one in producing variety 
and harmony in the service and securing command of 
rhythm. 

This analysis of the Prayer-book applies equally to the 
Masses of the Catholic Church. It has been well said 
that there is dramatic movement in the High Mass. This 
dramatic movement should be accentuated by giving to 
each part of the service its specific spirit. When this move- 
ment is displaced by monotony, it becomes an external 
pomp without devotional feeling. The rhythmic alter- 
nations between the more demonstrative expressions of 
praise, and the more personal and subjective parts of 
the service, must be carefully observed. 



HARMONY OF THE SERVICE 353 

The same principles apply to the services of the Jewish 
synagogue, and, in fact, to every form of worship, how- 
ever simple or complex, however subjective or objective, 
however bare and monotonous or spectacular, — from 
the institution of worship in the ancient temple to the 
Salvation Army, from the most formal of the High or 
the Catholic Church to the most quiet Quaker meeting. 
Religious worship is founded in sympathy. The help- 
ful influence of public worship, on account of which 
men were commanded not to forsake the assembling of 
themselves together, is often overlooked. Men are led 
by it out of themselves and into kindlier relations with 
their fellow-men, into deeper realizations of the Divine 
Presence in the Shechinah of the soul. If a service be 
barren of such results, it is because of the spirit in 
which it is conducted. 

To my mind, silent prayer should be introduced as a 
part of every service of public worship. When its true 
significance is realized, it is a most impressive part of 
Christian worship. 

When a man like James Freeman Clarke said, " Let 
us all join in silent prayer," how impressive was the 
stillness, how profound the impression made ! 

Those who have the habit of condemning the Prayer- 
book service as cold and formal, should note that for- 
malism is found in every denomination and that every 
preacher has to fight against it. No matter what may 
be the form of worship there must be a struggle to 
lead the minds and hearts of men into an attitude of 
devotion. It is a matter not of words but of vocal ex- 
pression. It is a matter not of mere intellectual domi- 
nation but of spiritual leadership. Endeavoring to 



354 THE SERVICE 

express the real feeling of the heart through the voice 
will enable a man to realize the possibility of bringing 
all parts of the service into unity and giving intense 
progressive transitions from the lowest plane of the 
commonplace to the highest spiritual realization. 

All books and modes of worship should be studied by 
every one, no matter what his denominational relations. 
Each may prefer one mode of worship, but he must 
endeavor to appropriate without prejudice and to gain 
lessons from all to aid him in securing the power to 
lead men in their religious devotions. 

Harmony or unity in any service is secured by genu- 
ineness, directness, simplicity, sympathy. There must 
be no mere rehearsing of words, no reiteration of 
phrases, no repetition of commonplace statements. The 
leader should enter into the Holy of Holies of the 
human soul. He must touch men in all parts of their 
nature, but he can do this only in proportion as he has 
control of himself. 



XXXV. THE READER'S ATTITUDE 

After the reader of the Scriptures has realized the 
problem or function of the vocal interpretation of the 
Bible ; after he has thoroughly examined the message he 
is to deliver ; after he has mastered the elementary 
actions of the mind and the primary modulations of the 
voice that express them ; after he has selected and 
arranged his lesson, adapted it to the occasion, and 
brought to bear all possible aids, compared translations, 
studied the customs of the time, mastered its arguments 
and emotional movement, and realized its relations to 
the services, — what next ? 

He must apply the truth to his own soul. He must 
enter into such a perception of the message that he can 
manifest it out of his own experience. 

Bible reading requires one, in the words of Professor 
Monroe, " to enjoin the truth upon himself and upon 
other men." This remark applies, of course, to the 
moment of reading a passage or to the act of giving a 
phrase or word ; but it has also a broader application. 

The reader must have not only knowledge and under- 
standing of the passage but a personal apprehension of 
its truth. He must searchingly examine himself. " Do 
I live this message? Has it been food to me? Am I 
living this truth ? Are these words really a ' criticism 
of life ' to me ? " 

The reading of the Bible, as a part of worship, implies 

355 



356 THE SERVICE 

leadership. The leader is not one who stands behind 
and commands others or lays upon other men's shoulders 
burdens which he himself will not touch, but one who 
participates in the battle. A man may possibly enter- 
tain others without leading them, but the leader in 
prayer, in worship, or in realizing spiritual truth must 
stand not face to face but shoulder to shoulder with his 
fellow-men. His own face must be turned toward the 
Infinite and Eternal Source. 

There are three distinct attitudes which men may 
adopt toward the Bible and that have been implied 
through all these discussions. 

The first of these is the critical or scientific attitude. 
It implies investigation as to the character of a book ; 
its authorship, its relation to the age in which it is sup- 
posed to have been written, the peculiar language and 
other elements of the book that indicate the character, 
the history through which it has passed, and the arrange- 
ments and modifications which have been made by 
editors. This attitude is necessary to the understanding 
of the Bible. The reader must accept the facts of criti- 
cism and apply to vocal expression the latest results of 
the best scholarship. 

Secondly, there is a literary study or attitude which 
naturally follows, if it be not a part of the critical study 
of the Bible. It implies the study of the literary form of 
the books, the figures, the poetic allusions, the beauties, 
the emotional feeling, the imaginative whole. 

The third attitude is the devotional or spiritual ap- 
plication of the thought to the reader's own soul, the 
assimilation of its feeling by the reader's own heart. 

The proper reading of the Scriptures involves all 



THE READER'S ATTITUDE 357 

these three attitudes. Where only the first exists, the 
reading is cold. Where the reader has investigated and 
analyzed a passage, and leaves it with an impression of 
fragments or of mere documents, and no conception of 
it as a united whole, his voice will be neutral and nega- 
tive, because such is the attitude of his mind. 

Even the literary study of the Bible is not sufficient. 
By itself, it may be formal, intellectual, and simply 
critical. Many so-called literary renderings of the 
Bible have some imagination and a certain species of 
feeling, but often a lyric is read as a mere poem. There 
is often only admiration of the poetic or literary elements 
of the work. The true interpreter of the Bible must 
realize that it is not merely a literary volume, but an 
embodiment of religious experience. 

The devotional attitude alone may be sentimental. 
There may be feeling without thought. Without the 
critical spirit, the devotional may have no true basis ; 
without literary study, the emotion may be aimless and 
vague because not definitely related to a specific situa- 
tion. The devotional spirit must be the true climax of 
any study of the Scriptures, the only attitude which will 
give a true and adequate interpretation of the spirit of 
the Bible. Yet it must be founded upon the others. 

In fact, these three methods of studying the Bible are 
all necessary. Each is a complement of the others. 
No one of them can be isolated and made an end in 
itself without hindering the proper rendering of the 
Bible. 

Not only are all .three necessary, but the order which 
is here given should be adopted by the reader. The 
critical and the scientific must precede the literary 



358 THE SERVICE 

study. The literary study of the Bible must accept 
the results of the expert biblical critic, and the imagina- 
tive appreciation of the passage must precede its spirit- 
ual realization. The emotional application of a passage 
to the reader's own soul will be aided by the fuller per- 
ception of the poem, the parable, the story, as the 
universal experience of the human heart. 

The devotional spirit is the one in our day which is 
apt to be despised and forgotten. There seems to be a 
strange antagonism between the devotional attitude and 
the critical attitude. After the meaning has been found, 
after the true character and the pictures have been 
created by the imagination, the devotional realization of 
the passage ought to be the natural result. 

There is no real antagonism between these studies. 
Some persons seem to feel that all that is needed is the 
devotional attitude toward the Bible as a whole, but this 
alone is sentimental. No emotion can be genuine that 
is not founded upon specific thought and imaginative 
creation and sympathetic realization of a situation or 
scene. Genuine thinking is necessary to all genuine 
feeling. The devotional cannot be rational, cannot be 
exalted, without thought. 

More than once in history have men " perished for 
the lack of knowledge." " My people do not con- 
sider " — or think — is a condemnation which is appli- 
cable to others besides the age of Isaiah. The most 
thorough study of the Bible is an aid, not a hindrance, 
to devotion ; genuine devotion is an aid in searching 
into the heart of a passage. " Sympathy is insight," 
and insight brings sympathy. 

These three attitudes toward the Bible — the critical, 



THE READER'S ATTITUDE 359 

the literary, and the spiritual — may be illustrated by 
almost any Scriptural passage. Observe, for example, 
their specific differences in the study of the fortieth 
chapter of Isaiah. 

The critical study of this great chapter makes us real- 
ize that there is an immense gap at this point in the 
book of Isaiah. In the first half of Isaiah, there is 
constant denunciation of a rebellious nation. This part 
opens with "Comfort ye, comfort ye my people." " Ye 
have received double for all your sins." This part 
of the book is a promise of deliverance. The terrible 
calamity foretold has arrived, has long been endured; 
and now comes the hope of a return. These two aspects 
of the great exile may be the reason for the gathering 
together of passages otherwise dissimilar. 

From this critical study we get the situation and 
the point of view. We can locate the speaker in the 
midst of Babylon. By comparing the methods of an 
ancient army on its march, we can understand what is 
meant by the levelling of the hills and the filling up of 
the valleys. 

Next to the critical is the literary study of the form, of 
the situations and scenes, of the poetic figures, and the 
exalted ideas. The beautiful impersonation of Zion or 
Jerusalem as Heraldess or Evangelistess, at the opening 
of the book, kindles our imagination. Standing in the 
midst of Babylon, the prophet seems to wave his hands 
across the sand-hills toward the sacred home of the 
nation six hundred miles away. He sees Jerusalem as 
a mother looking for the return of her exiled children. 

We hear his moan that the people are like " grass " 
that is, with no aspiration ; and the spirit of Zion climb- 



360 THE SERVICE 

ing up a high mountain and proclaiming to all below 
that Jehovah is bringing back His people. We can see 
the discouraged auditors around him who have almost 
forgotten their ancient home or have only a tradition from 
fathers and mothers who have died in exile. We realize 
the reason given for hope — the character of God. We 
are stirred by the sarcasm, the ridicule, of the prophet 
at the image cast by " a smith," and the " block of wood " 
carved into a deity, and with him we can cry, " Have 
ye not known " the character of the Infinite ? Have ye 
not yet learned that Jehovah is a spiritual Being ? 

We now naturally pass to an application of the pas- 
sage to ourselves. As the prophet depends for his as- 
surance upon the character of God, so does every man 
practically say : — 

11 As the marsh-hen secretly builds on the watery sod, 
Behold I will build me a nest on the greatness of God. 1 ' 

Upon this he predicates his confidence, his courage, 
and his hope of immortality. In the contemplation of 
eternal love, the reader too " shall mount up with wings 
as eagles, shall run and not be weary ; shall walk and 
not faint." 

But the reader of the Bible must have more than all 
these three attitudes : more than critical understanding ; 
more than literary appreciation; more than even an 
attitude of reverence, and deep experience. He must 
know the value of a pause, a touch, a change of pitch, 
an inflection or any modulation of the voice, and be able 
to use it as the direct language of his imaginative and 
emotional life. No mere knowledge of the meaning 
and function of these modulations is sufficient. They 



THE READER'S ATTITUDE 361 

must be mastered and assimilated ; they must become 
the instinctive expression of deep feeling. However 
deeply the reader may understand and feel the Bible, 
he must also command the expressive powers of his 
voice before he can adequately impress the truth upon 
the hearts of others. 

The impression made upon many by this long analy- 
sis doubtless is that the reader has been given too 
many things to think of in the act of expression. " All 
these suggestions are good," some may say, " but they 
are so complex that no one can remember them all. 
You have made the problem too difficult. In trying to 
solve it, you have only added to its complications." 

Such ideas are the result of misconceptions of the 
nature of all expression. Men have many thousands 
of words in their vocabulary, but in the act of writing a 
letter this great number does not confuse them. Shake- 
speare did not think of all the fifteen thousand words in 
his vocabulary in composing one of his lines. The living 
thought brought up the word and phrase to express it. 
So in vocal expression. An analysis of its elements 
seems complicated, but the mind must go through the 
process of becoming conscious of the meaning of the 
language, or the voice modulations will not respond. 

After the language is mastered, it becomes a help, and 
not a hindrance. Language is necessary to thought and 
feeling. To find the right word or the best phrase is usu- 
ally also to get an adequate comprehension of the idea. 
So, to secure the right sign or modulation of the voice, 
is to get a more adequate impression or conception of a 
truth, or to feel it more deeply. 



362 THE SERVICE 

The reader must not remain in the attitude of prep- 
aration. In preparing a lesson, it is necessary to 
analyze, to criticise, to compare modes of rendering, 
to experiment, to study faults and misconceptions, and 
to find among a hundred ways of giving a clause the 
one, inevitable, true vocal expression. The reader will 
also be struggling to find a deeper meaning. When he 
gains the victory, the outward sign and the inward idea 
will become blended in his consciousness. In the act 
of reading, all critical uncertainty, all experimentation 
will be past, the expression will become transparent, 
and the attention of the mind will be focussed, not 
upon the manner or technique, but upon the thought 
and situation. 

But if the reader wraps himself in the notion that he 
must " simply be natural," and has no need to pass 
through a critical or analytical attitude of the mind, he 
will be unconscious of the inadequacy, nay, even the 
untruthfulness, of his own expression. He will be 
clothed in a mood, and all will be vague. His thought 
will lack definiteness, and he will fail to distinguish 
shades of emotion. 

No other than the laborious way of study, profound 
meditation, and careful practice can make the reader 
master of thought and feeling, and enable him to inter- 
pret a passage with the natural modulations of his voice. 

The reader must finally trust his instinct, but he can 
do this only after careful preparation and thorough 
study, after profound analysis and patient practice. At 
the moment of reading he must pass, however, beyond 
all uncertainties. He must accept the results of his 
work. After preparing as well as he can, he must turn 



THE READERS ATTITUDE 363 

his face toward the truth and toward his fellow-men, 
and give his message as simply and sincerely as possible. 
Not his now to be in doubt, nor to study how to render 
any word or phrase. The time for the soldier to drill 
and become familiar with the art of war is before the 
battle. When the fight has begun, it is too late to prac- 
tise gymnastics, or to deliberate long on how to strike. 
The true commander or leader acts decisively at the 
right moment. He uses his best judgment ; he prepares 
thoroughly, but at the last moment acts from instinct. 
The reader must be familiar with his lesson. He must 
have decided all difficult and doubtful points. He must 
have practised and experimented until at last he can 
give himself up to his own thinking, imagination, and 
sympathies, to present instinctive realization and life. 
Imaginative vision, genuine sympathetic feeling with a 
thorough knowledge and conscious command over the 
expressive modulations of the voice, must now be the 
reader's dependence. 

Again, the reader must not try to make his readings 
graceful, ornamental, or beautiful. He is discharging 
an office too serious for that. His renderings must be 
true. He is not entertaining or amusing ; he is endeav- 
oring to save men. Not his to make an exhibition of 
his elocution, but to deal with living souls, to probe the 
depths of men's consciences and spiritual natures. 

He must not stand up in an attitude of vague uncer- 
tainty, without preparation, on the one hand ; or, on the 
other, with elocutionary rules and mechanical posings or 
imitation. Not elocution, but expression, must be his 
motto. He must be sincere and genuine; he must be 
himself. He must at last hold his mind directly con- 



364 THE SERVICE 

centrated upon the thought of his message. The means 
have been mastered, and lie, therefore, in the back- 
ground of his consciousness. When not mastered, or 
made an end in themselves, they may press into the 
foreground of consciousness ; and their neglect or their 
conscious manipulation may be equally a means of 
failure. He must hold all his materials in the field 
of his consciousness, but with attention focussed upon 
the central truth, that the life of his mind may be 
energetic, free, and spontaneous. 

The reader must, by thorough preparation, do all he 
can to prevent faults. He must anticipate every danger 
and realize every possibility. He must read the passage 
to his own soul, then to an imaginary audience. But 
when the time for reading comes, he must forget his 
faults. The demon of fear that haunts every man on 
the threshold of endeavor must be put down by present 
realization, courage, a sense of thorough preparation, 
and mastery of the means to be employed. 

The study of vocal expression gives a man possession 
of himself. It does not cause self-consciousness when 
rightly realized. and understood. When the modulations 
of the voice are not made mere mechanical ornaments 
to be consciously manipulated, but are regarded as a 
deep natural language and are mastered, self-conscious- 
ness is prevented. The more thorough the preparation, 
therefore, the more spontaneous and free, the more 
nobly unconscious of himself is the reader, and the 
more directly can he reveal to v others the impressions 
which the truth makes upon his soul. 

This book has aimed to awaken higher ideals regard- 
ing the reading of the Bible in public worship. It has 



THE READER'S ATTITUDE 365 

endeavored to open the eyes of all to a neglected func- 
tion, to an overlooked means of power, and to stir spir- 
itual leaders to the importance of reading the Bible 
better. Naturally, in view of the greatness of the prob- 
lem, many will be discouraged. But there is another 
side. How great are the encouragements to those who 
endeavor to read the Bible well ! What gathering of 
men anywhere is not hungry for spiritual leadership ? 
What congregation does not long to hear the Scriptures 
read well? Even when its profound lessons are read 
moderately well, how heartfelt is the delight of all who 
listen ! 

It is from the laymen that one hears the most criticism 
of the ordinary pulpit interpretation of the Bible. Among 
everyday Christians the true interpreter will never fail 
to meet a response. To one who will take himself seri- 
ously in hand, study the lesson in all its bearings, and 
examine the true use of the modulations of the voice, 
put aside fear, and dare to be the living embodiment of 
the truth, will come a joyful sense of life and power. 

How few public readers, teachers of Bible classes, or 
even preachers have come to feel the sense of power 
over themselves and over others which can only be 
given by the true vocal interpretation of the Scriptures ! 

Around the words of the Bible are gathered tender 
memories and associations. The wildest and most reck- 
less man in the congregation may have heard at his 
mother's knee the words you read. As they are once 
more made to live, they, as no other words, will hold 
him in rapt attention. What pictures they awaken in 
the most hardened ! What aspirations and spiritual en- 
deavor are renewed in the weak and the wavering ! 



366 THE SERVICE 

The true reader meets no intellectual or antagonistic dis- 
cussion. There is no debate, nor hard and dry forcing 
of one man's opinions upon another. These sublime 
words appeal to men's intuitions, and turn all inward to 
face the Eternal Presence. 

What is the preacher's final appeal in struggling with 
a soul at some crisis ? To some sentence from the Bible. 
When he faces a young man, wavering and discouraged 
at some turning-point, what does he give him ? Some 
words of the Master. When he stands up to conduct 
some funeral service, and looks around him on the 
broken-hearted, what can he do but read those words 
that have ministered to the sorrow-stricken for thousands 
of years ? Great leaders of thought and of human prog- 
ress, over whom the most eloquent eulogies might be 
pronounced, are often laid to rest with simply the words 
of the Bible. Whatever theories men may hold regard- 
ing the Bible, there can be no doubt as to the potency 
of its influence or the directness of its power over the 
human heart. Here are the most simple and heart- 
searching of all words that have ever been uttered. 
Who does not tremble at the thought of presenting 
these interpretations of the spiritual life of the race to a 
group of his fellow-men ? Who can dare present them 
with cold formalism or indifference ? Why do men fail 
to realize this great means of moving the hearts of their 
fellow-men ? These sublime words embody the spiritual 
life of the race, and make the finite mind conscious of 
infinite spirit ; and when one expresses the impression 
they produce upon his own heart, he awakens the high- 
est aspirations and finds a means of communion with 
his fellow-men in the realm of spirit. 



THE READER'S ATTITUDE 367 

The miraculous effect which fable ascribes to the utter- 
ance of the ineffable name, — a name which was written 
but never spoken except by the adept — may be found by 
the true reader to be no mere legend. By mastering the 
elemental acts of his mind and the expressive modula- 
tions of his voice, he may come to realize the hidden 
meaning of the ancient story. By learning the nature 
of feeling and the laws of vocal expression, securing 
control of his imagination and the simple elements of 
conversation, he may gain the power of transforming 
the written into the spoken word. 



INDEX 



Abraham, his prayer for Sodom, 115- 
116; prayer and answer, a complete 
lesson, Genesis xix.-xx., 288-289. 

Accentuation, or exaggeration, as a test 
of power, 322-323. 

Actio7is of mind, rhythmic, 139-142; 
see Discrimination, Method, Think- 
ing, Atte?ition. 

Acts, book of, a letter, 68 ; epic tran- 
sition in, 250; i. 9, and iv. 12-13, 
transitions in, 272; vii.-viii. 1, 200; 
vii. 37-60, effect in different readings 
of, 235 ; vii., contrast of common- 
place and sympathy in, 288 ; vii. 60, 
transition in, 164; xii. 1-24, Peter's 
deliverance, 290; xvii. 16-34, Paul at 
Athens, 74; xxi. 15-xxiii. 11, Paul's 
arrest, unity of lesson on, 290 ; xxiii. 
1-10, oratory of Paul, 74; xxvi., Paul 
before Agrippa, 73. 

Allegoric spirit in Bible (viii.) , 83-85 ; 
allied to double meaning, 83 ; ex- 
plained, 135; illustrated by Hosea, 
84, by Ecclesiastes xii. 1-8, 84, by 
Jonah, 84-85; important in early 
literature, 83-84. 

Ananias and Sapphira, movement in 
story of, 255. 

Antithesis, shown by change of pitch, 
165; by inflection, 174; in Paul's dis- 
cussion of resurrection, 1 Corinthians 
xv., 169-170. 

Application, of lesson to reader him- 
self, 297, 355 ; of parables, 275. 

Argument (xxi.), 197-21 1 ; central ideas 
illustrated, 197-199; must be re- 
vealed, 197 ; general, of Bible should 
be studied, 291-292; how shown, 78- 
79 ; illustrated by Psalm xix., 197-199 ; 
by Sermon on Mount, 202-211 ; by 



death of Stephen, Acts vii.-viii. 1, 
200; Good Samaritan, 187-189 ; Job 
xx viii., 201-202; importance of, in 
public reading, 197; see Method, 
Melody, Inflection, Arrangement, 
Emphasis. 

Aristotle, definition of poetry, 214; his 
test of great literature applied to 
epic, 105. 

Arrangement of lesson (xxvii.), 287- 
292 ; illustrated by story of destruc- 
tion of Sodom, 288-289; Elijah at 
Carmel, 289 ; arrest of Paul, Acts xxi. 
15-xxiii. 11, 290; Peter's deliver- 
ance, 290. 

Art, aim of, 75 ; as an element in na- 
ture, 117; attitude of, needed by 
reader, 46 ; Christ compelled to use, 
117; less likely to be misconceived, 
118; in interpretation, 118-119; laws 
of, applied to Bible, 317-318 ; method 
of, necessary, 118 ; must be explained 
by art, 116; nature of, 213; necessary 
in explaining Bible, 117; necessity 
of, 117-118; obeys nature, 119; of 
Master (xii.), 1 17-132; parable, a 
work of, 118-119; shows deeper 
truth, 118; see Poetry, Literature. 

Assimilation, absence of, ill., 238 ; atti- 
tude of mind, 238-239 ; causes change 
in attitude of mind, 239-240; epic in- 
stinct of, 239; expression of, 244; 
illustrated by Pharisee and publican, 
Luke xviii. 9-14, 238-239 ; by Prodi- 
gal Son, 239; interprets sublimity, 
243 ; negative and positive, shown by, 
239-240 ; questions decided by, 241 ; 
shows character, 238-239 ; see Move- 
ment, Dramatic, Epic, Transitions. 

Assyrians, Isaiah's reference to, 80. 



369 



370 



INDEX 



Attention, determines phrasing, 150- 
153; expressed by rhythmic empha- 
sis, 153 ; first requisite in expression, 
144-145 ; in method, 168-169 '< must 
be secured in opening sentences, 
342; necessity of, in story-telling, 
60; needs pause, 147-148; primary 
action of mind, 139-141 ; problems 
for, 147-150, 154-155 ; rhythm of, 
140-142; xiv., 139-142; shown by 
touch, 148-150; staying of, 148; see 
Pause, Thinking, Touch. 

Attitude of reader (xxxv.) , 355-367 ; 
toward the Bible, critical, 356, de- 
votional, 357-35 8 . literary, 356-357; 
illustrated by Isaiah xl., 358-360; 
necessity of all modes of studying 
Bible, 358-359 ; in Prodigal Son, 239 ; 
in Scripture lesson, 338-339 ; of 
mind, different in different parts of 
the service, 338 ; see Assimilation, 
Dramatic, Epic. 

Beatitudes, antithetic to law, 204-205 ; 
reading of, 203. 

Beecher, making comments, in read- 
ing. 333- 

Bible, books should be properly an- 
nounced, 340; criticism, results of, 
accepted by reader, 46; customs 
important, 214 ; dramatic, 96 ; effects 
of false reverence for, 44-45 ; full of 
oratory, 71-82; governed by laws 
of literature, 47 ; human, 43-44; im- 
agination needed, 215 ; in worship 
(i.), 3-16; last appeal of preacher, 
366; literary spirit (iv.), 43-58, and 
vocal expression, 133-136; literary 
study of, 55-56 ; literature of power, 
45-47, 213 ; misconceived from lack 
of knowledge of its literary forms, 
50 ; needs artistic point of view, 48 ; 
peculiar function of reading of, in 
worship, 3-16 ; reading of, by Christ 
in synagogue, 121 ; reading of, de- 
fined, 230-231 ; neglected, 21 ; right 
point of view in studying, 43; should 
it be read in public ? 21-22 ; simple, 
45 ; stories of, popular, 61 ; study of, 



should begin on human side, 43 ; 
why expressed in human language, 
43 ; sublimity in, 214 ; see Criticism, 
Lesson, Literary Study, Reading. 

Blind 7nan, account of, in John ix., an- 
alyzed, 275-283 ; epic elements in 
story of, 109. 

Booth, Edwin, epic in " Hamlet," 107. 

Breathing, too seldom, common fault, 
how corrected, 336. 

Brooks, Phillips, prayer at Harvard, 6 ; 
on ministerial helps, 306. 

Browning, Mrs., on deepest prayer, 7. 

Burlesque and farce, why low forms of 
dramatic, 105-106. 

Carelessness, in announcing Scripture 
lessons, 340. 

Carlyle, on story-telling, 59. 

Cetitral ideas, analysis of, in John ix., 
275-283 ; in attention, 186-187 '< m 
method, 168 ; must be found, 169- 
170 ; illustrated, 1 Corinthians xv. 35- 
49, 248; see Conversational Form, 
Emphasis, Melody, Method. 

Centrality and repose, test of good 
reading, 324. 

Change of ideas (xvi.), 156-159, and 
pitch (xvii.), 160-166; changes pitch, 
160 ; destroyed by enumeration, 162 ; 
shown by pause, 144, touch, 148 ; see 
Discrimination, Method. 

Change of pitch, agility of voice, 161 ; 
in application of parable, 165 ; cause 
of, 160-163 ; in cooperation with in- 
flection, 185 ; shows discriminations, 
161-162 ; elements in melody, 184- 
187 ; emphatic, 164 ; extreme, justi- 
fied by pause and touch, 162; free, 
160 ; function of, 165 ; how developed, 
166 ; helps other modulations, 266 ; 
important in Scripture reading, 161 ; 
overlooked in Bible reading, 163, 166 ; 
in parallelisms, 161-162; shows ani- 
mation, 166; shows contrast, 165- 
166 ; sing-song, fault of, 163 ; un- 
usual, found often in Bible, 164 ; see 
Conversational Form, Faults, Inflec- 
tion, Monotony, Pange. 



INDEX 



371 



Chaos, shown by absence of rhythm, 

143-144. 
Character, relation of, to experience, 

234- 

Cheyne, early translation of Psalms, 332 ; 
on Psalm i., 218-219; on Psalm lv., 
219. 

Christ, see Jesus, Master. 

Cibber, Colley, on " King Lear," 49. 

Circumflex inflections, meaning of, 181- 
182; not necessary in conversation, 
181-182; tend to degrade, 181-182 
undignified, 181. 

Clauses, change of pitch in, 184-185 
movement emphasizes, 247-268. 

Coleridge, on mark of culture, 167 
imitation not possible in reading his 
" Mont Blanc," 101-102. 

Color, change of, after word "but," 
207; goes with movement, 269; see 
Tone-color. 

Colossians iv. 16, 18. 

Commandments, how rendered, 350. 

Comments should be rare, 333. 

Commonplace, gauge of faculties not 
proper in Bible reading, 237, in dec- 
laration, 344, in prayer, 349. 

Common Prayer, Book of, see Prayer- 
book. 

Contrast, between Christ and woman of 
Samaria, 182 ; between parables, 274 ; 
illustrated, 170; in Psalm i., 171; in 
Jeremiah xvii. 5-8, 275; Jews and 
blind man, 278-283 ; of feeling, 230- 
231 ; of illustration and thought in 
1 Corinthians xv. 35-49, 248 ; of Mas- 
ter and Jews, 192-193 ; of objective 
and subjective in 1 Kings xix., 242- 
243; in rhythm, 147; see Movement, 
Modulations, Transit ioyis. 

Conversation, elements of, in delivery, 
6 ; must be studied by preacher, 6 ; 
form in, 186-189; elements of, 186; 
see hifiection, Melody. 

1 Corinthians ii. 4, 301 ; iii. 9, 301 ; 
x. 1-4, 304; xiii., 275; xiii. 1, 301; 
xiii. 9, 300; xv., 169, 170, 248, 249, 
290, 291 ; xv. 29, 291 ; xv. 32, 300. 

2 Corinthiatis xi. 22-29, x 75- 



Creed, repetition of, 348-349. 

Criticism, analytic, 169 ; followed by 
devotional spirit, 356-357; how re- 
lated to literary and devotional study, 
357-359; latest to be accepted, 46- 
47; only at beginning, 198; self 
(xxxi.), 317-327; should be first, 
356; see Tests. 

Customs, of Bible must be studied, 296- 
297 ; of early Christians in reading, 
17-20. 

David's lament, 2 Samuel xviii. 31-33, 
232. 

Declamation, why undignified, 261-262. 

Delivery, of Christ, 120-121 ; essential 
part of sermon, 5 ; faults in, caused 
by lack of discrimination in feeling, 
230; first words important in, 339; 
nature of, 230 ; peculiarities of, in 
each form of literature, 134-135 ; re- 
quires feeling, 238 ; of sermon based 
on conversation, 6. 

Delsarte, test of power, 119, 322. 

De Quincey, on literature of power, 213. 

Description, not necessarily epic, 104. 

Deuteronomy xvi. 20, 312 ; xxvii. 15-26, 
203 ; xxx. 11-14, 8 ; xxxiii. 34, 255. 

Devil, words of, in temptation, dra- 
matic, in. 

Devotional spirit, climax of critical and 
literary, 357-360; naturally follows 
critical and literary spirit, 357. 

Dialogue, almost formal in Hosea, 96; 
between Christ and the woman, John 
iv., 253 ; blind man, 275-283 ; impor- 
tance of movement in, 253 ; Luke 
vii. 35 sea., 232; see Dramatic. 

Didactic, address to people, 343 ; easily 
read, 68 ; spirit (vi.) , in Bible, 67-70 ; 
basis of other modes of expression, 
69 ; false, is negative, 69. 

Dignity, expression of, 261 ; how de- 
stroyed, 262; shown by straight in- 
flections, 181. 

Discrimination (xvi.), 156-159; illus- 
trated by Psalm xci., 157-158 ; im- 
portance of, in vocal expression, 156; 
important in all thinking, 156; of 



372 



INDEX 



ideas shows freedom of mind, 25; 
see Change of Pitch. 

Double meaning of Scripture, 82-83. 

Dramatic, actors on, 94 ; Bible full of, 
96 ; contrasted with epic, 109 ; defined 
and explained, 94, 97, 235, 236 ; de- 
grees of, 106; dependent on degree 
of sympathy, 105-106 ; direct and in- 
direct, 99-100; founded on stories, 
261 ; on human plane, 101 ; identifi- 
cation (xxiv.) , 233-243 ; in prophets, 
96 ; in Simon's words, 97 ; John ix., 
275-283 ; imagination and sympathy 
in, 97, 234, 236; instinct, 235; illus- 
trated by story of Naaman, 2 Kings 
v., 62-66, Song of Solomon, 95, Job, 
95, Psalm xc, 51-52; implies action, 
97; imitation lowest form of, 100; 
importance of, 102 ; shown by Judge 
Staples, 93-94 ; movement, 102, 244- 
257; must not be studied theoreti- 
cally, 97 ; not merely in description, 
104; negative, 98; overemphasized, 
in; parables, 96; personation and 
participation, 100; poetry distinct 
from prose, 94; point of view in, 
101 ; portraiture subordinate to epic, 
326 ; rank of, 105 ; reading, why not 
liked, 99; relation of sympathy to, 
99; true, does not slight lyric and 
epic, 100; often made a standard, 
112-113; truthfulness in, 52; vari- 
ously conceived, 93-94 ; see Assimi- 
lation, Epic, Imagination, Moveme?it, 
Sympathy. 

Drunkards, Isaiah to, Isaiah xxviii., 
and their interruption, 222. 

Earnestness, increases range, 186-187; 
needed in Scripture reading, 207; 
not antagonism, 226; physical and 
spiritual, 322; right method of show- 
ing, 322; two kinds of, 262, 297. 

Ecclesiastes iii. 1-14, 165 ; xii. 1-8, 84. 

Economy, as a principle of style, Spencer 
on, 314. 

Ecstasy, not genuine feeling, 215-216. 

Elijah, at Mount Carmel, 242-243 ; 
dramatic instinct in, 241 ; his point 



of view, 101; Jehovah's lesson to, 
242-243 ; story of, illustrating epic, 
108-109. 

Elisha, story of, 2 Kings v., 62-66. 

Emmaus, journey to, movement in, 249. 

Emotions, expressed by tone-color, 
225-230; gamut .of, narrow, 229; 
must be developed, 230; genuine- 
ness of, 214-215 ; given on all pitches, 
163 ; ignoble in Psalms, how ren- 
dered, 91 ; lack of, corrected by 
awakening imagination, 228 ; may 
be suppressed, 230 ; must be living, 
295 ; truthfulness of, how developed, 
231-232 ; variety of the Master's, 114- 
115 ; see Assimilation, Feeling. 

Emphasis, accentuates modulations, 
185 ; danger of specific rules and 
modes, 176; by change of pitch, 164- 
165; dignity of, by inflection, 178; 
faults of, 55 ; marks for, 306-307 ; of 
thought, 269 ; on a specific word, 
306-307 ; overworked, 262 ; rhythmic, 
153 ; senses in which it has been 
employed, 263 ; shown by Greek 
(xxix.) , 298-310 ; shown by postpone- 
ment in Greek, 301-302, postpone- 
ment in Hebrew, 312, precedence in 
Greek, 300, precedence in Hebrew, 
311; proximity in Greek, 302; repe- 
tition in Greek, 303-304; repetition 
in Hebrew, 312-314; separation in 
Greek, 302; true meaning of, 263; 
see Method, Modulations, Inflection, 
Unity, Vocal Expression. 

Emphatic pause, 147 ; effect of, 260 ; 
illustrated, 190; importance of, in 
1 John iii. 3, 191 ; needs subordina- 
tion with change of pitch, 260 ; united 
with melody, 261. 

Ephesians ii. 4-6, 251. 

Epic, assimilation in (xxiv.) , 233-243 ; 
spirit (xi.), 104-116; always united 
to lyric and dramatic, 113 ; analysis 
of, in John ix., 275-283 ; at close of 
story of Elisha, 2 Kings v. 27, 115; 
compared with tragedy, 105-106; 
contrasted with dramatic, 105, 109; 
contrasted with narrative in Moses' 



INDEX 



373 



call, 113; contrast of epic and dra- 
matic in the Temptation, 111 ; distin- 
guished from lyric and dramatic, 
242; dramatic at expense of, de- 
grades, 109; elements and illustra- 
tions of, 104-115; expression of, 114, 
116, 241-243; found at the climax, 
243, 326; found in everyday life, 
106-107 ; founded on story, 61 ; 
higher poetry of, 104; higher than 
dramatic, 105 ; illustrated by Parable 
of Prodigal Son, 121-132; imperso- 
nation, iio-iii; importance of, 116; 
includes dramatic, 104; in descrip- 
tive clauses, 108 ; in Scripture read- 
ing, 107 ; misconceived, 112; instinct, 
108; common, 106; Mrs. Siddons* 
practice of, 112; nature of, 104; not 
merely descriptive, 104; not per- 
sonal, 106; ought to be standard 
in Bible reading, 112; reader must 
be himself, 107-108 ; must show his 
impressions, 108; simple, 113-114; 
slighted by public readers, 112; 
spirit, not letter, 116; sympathy dif- 
ferent from dramatic, 111, 112; 
tested by dignity, 114; united with 
dramatic, 107; vocal expression of, 
114; see Assimilation, Dra?natic. 

Epistles, argument in, shown by 
Twentieth-century New Testament, 
54. 333; rea -d differently from the 
Gospel, 350; method in, should be 
studied, 169. 

Ewald, on Hebrew parallelisms, 52-53 ; 
on Isaiah xxviii., 222; on pronominal 
suffixes, 313; on spirit of Hebrew, 

3". 

Exodus iii., 113; xv., 1-19, 22, 90. 

Experience, best sermon full of, 5 ; 
necessity of, in expression, 233-234; 
negation of, causes faults in delivery, 
234 ; see Assimilation, Epic. 

Expression, differs from elocution, 164 ; 
when to study, 363 ; different in dif- 
ferent parts of service, 338 ; difficult 
to detect, 224 ; effects on modulations 
of voice, 224 ; caused by thinking, 3 ; 
helps thinking, 264; its true charac- 



ter, 56-57 ; manifestation not a repro- 
duction, 326; of abnormal moods, 
321; of earnestness, 322; of imagi- 
nation (xxiii.) , 224-232 ; prayer a form 
of vocal, 9-10; primary requisite of, 
159; repose in, 324; rhythmic, 143- 
155; spiritual, requires pause and 
touch, 154; subtilest in tone-color, 
226; summarized, 234-235; see Vocal 
Expression, Modulations, Reading. 
Ezekiel xxxvii. 1-10, 249-250. 

Farrar, Dean, on " thou " in speech of 
Pilate, 303. 

Faults, accentuating weakness, 322; 
breathing too seldom, how corrected, 
146, 336; cause of, lack of feeling, 
230 ; not realizing each idea, 157 ; 
neutrality, 234; feeling subject as a 
whole, 230; critical attitude, 45; 
coldness, how corrected, 212-213, 
225-226; false earnestness, 262; false 
reverence, 44; of form and color, 
228 ; emphasizing little words, 44 ; 
hesitation, 145 ; in prayer, 8,9; in 
reading mere enumeration, illus- 
trated by Psalm civ., 162; lack of 
genuineness, 214, 215 ; lack of sub- 
ordination, 189 ; lack of tone-color, 
266, 267 ; loudness, 261 ; ministerial 
tunes, 193-196, how corrected, 367; 
exercises for correction, 195-196; 
monotony of movement, 269; nar- 
rowness of range, 186, 192 ; negation 
of experience, 234; neglect of feeling, 
229; neglect of preparation, 294; 
overestimating the dramatic, 111- 
112; pause a remedy for monotony, 
145; repetition, not pronunciation, 
22; sadness, 226; sameness of pitch, 
156 ; sing-song, 163 ; unnaturalness, 
261 ; untruthfulness, 265 ; see Minis- 
terial Tunes. 

Feeling, contrasts in, 232 ; can be edu- 
cated, 229 ; control of, gained by 
study of dialogue, 232 ; depends on 
imagination, 213-215 ; distinguished 
from intellect, 228-229 ; every idea 
has one of its own, 229; expressed 



374 



INDEX 



by tone-color, 225-226; importance 
of simple, in Bible reading, 44; in- 
flection not affected by feeling in 
strong characters, 227 ; necessity of 
truth of, 226; sadness corrected by 
awakening imagination, 226 ; should 
be expressed as strong as possible, 
321 ; should be studied, 229 ; transi- 
tions in, everywhere in Bible, 226; 
untruthfulness of, 295-296; why 
neglected, 229 ; see Emotion, Experi- 
ence, Tone-color, Ministerial Tunes, 
Unity. 

Figures, in Bible vivid, 214 ; in Psalm 
xxiii., 47-48 ; movement of, 252-253 ; 
transition in James iii. 3-8, 273. 

Flaubert on style, 32. 

Flexibility, mental and vocal con- 
nected, 161 ; of voice, importance of, 
192; developed by mind, 192. 

Forms, of literature not artificial, 133 ; 
of worship should be studied, 340-341. 

Freedom in thinking, how fettered, 

IS6-I57. 
Fundamentals of conversation must be 

accentuated, 322-323. 
Funerals, John xiv. 1-4, helpful at, 291 ; 

lessons for, variety of passages should 

be chosen, 290-291. 

Galatians i. 1-3, 251 ; ii. 6-io, 251 ; ii. 

19, 20, 304. 
Gehazi, description of his punishment, 

epic, 115; rebuke to, 115. 
Genesis i. 1-8, 24, 311; xviii. 22; xix. 

29, 115-116, 288-289; xxxvii. 8, 314; 

xli. 17, 311. 
Gesture, contrasted with attitudes, 334- 

335 ; least dignified expression, 334 ; 

meaning of, 335 ; not used in Bible 

reading, 334 ; objective, 335 ; in 

soliloquy, 335 ; with head, weak, 335. 
Gethsemane, lesson on intense feeling, 

232; only realized by imagination, 

215. 
God, cannot be impersonated, 101; 

see Epic. 
Goethe, on situation of poems, 216 ; on 

suggestiveness, 325. 



Golden Rule, in relation to Sermon on 
Mount, 207-208, 210. 

Good Samaritan, study of, to illustrate 
method and melody, 187. 

Gospel, read different from Epistle in 
service, 350. 

Grace and charm, danger of, 363. 

Granger, quotation from " Soul of a 
Christian," 4. 

Greek, order of words in, 298 ; delicacy 
of, may be shown by voice, 305 ; 
flexible inflectional language, 298; 
spirit of, in application to Bible read- 
ing (xxix.), 298-3 10; structure of, in 
relation to vocal expression, 298-310 ; 
technical knowledge of little help, 
308 ; ways of indicating emphasis in, 
299-304 ; word for " love " in John 
xxi., 305. 

Habakkuk iii. 2-19, 141. 

Harmony, all modulations in, 258-283 ; 
implies opposition in unity, 339 ; 
importance of, in all parts of ser- 
vice, 337-338 ; of service in Prayer- 
book, 340-352 ; of the Service (xxiv.), 
337-354 ; should be studied, 354 ; see 
Unity. 

Headings of Psalms, 216-217; see 
Situation. 

Hebrew, structure and spirit of (xxx.) , 
311-316; importance of repetition in, 
312-313; leaps with passion, 222, 
314-315; literature of, centres in 
lyric and oratoric, 95 ; more difficult 
to translate than Greek, 314; order 
of words in, similar to Greek, 311; 
peculiarity of verbs, 312-313 ; primi- 
tive idioms in, 312; specially de- 
pendent on rhythm, 316; spirit can 
be shown by vocal expression, 311. 

Hebrews vi. 19, 301-302 ; vii. 22, 301 ; 
xi. 4, 302; xi. 32, 301. 

Herder, on background of Psalms, 
216. 

Hesitation, cause of, 145 ; see Faults. 

History of Scripture reading, 17-21. 

Hosea, symbolic, 84 ; xi, 95-96 ; xiii. 3, 
252 ; xiv. 5-8, 252. 



INDEX 



375 



Host, figure of, in Psalm xxiii., 47-48. 

Humboldt, Alexander von, on written 
word, 56. 

Hunt, Holman, preparation for paint- 
ing, 296. 

Ideality, as a test of good reading, 321. 

Ideas, and pitch, change of fxvii.), 
160-166; change of, changes pitch, 
160; delicate discrimination realizes, 
Psalm xci., 157-158 ; movement of, 
free, 160-161. 

Identification, an instinct, 235 ; shows 
itself before a quotation, 99 ; sympa- 
thy shown by (xxiv.), 233-243; see 
Assimilation, Movement, Dramatic. 

Idioms, connected with vocal expres- 
sion, 304 ; Hebrew, 312, repetition of 
nouns, 312, of pronouns and verbs, 

3*3- 

Illustrations, expression of, 273-274; 
given rapidly, 274; of Christ not 
read as parables, Luke vii. 41-42, 
274; of unity, 199-200. 

Imagination, awakens emotion, 214- 
215 ; bases action on facts, 216 ; 
Calvary and Gethsemane realized 
by, 215 ; can picture Master's de- 
livery, 120-121 ; dramatic, must be 
trusted, 223; use of, 224; element of 
dramatic instinct, 94 ; explained, 212 ; 
expressed more directly by color and 
movement, 264-265, 224-226 ; expres- 
sion of (xxiii.), 224-232; function of 
(xxii.), 212-223; idealizes all modu- 
lations, 225 ; importance of, 223 ; 
literature of, 213 ; must be awakened, 
212-213; nature of, 212; necessary 
in Scripture study, 57 ; needed by 
traveller, 215 ; see Literary Spirit, 
Tone-color, Dramatic, Epic, Poetty. 

Imitation, danger of, in Bible reading, 
99; illustrated, 100; only found in 
farce and caricature, 100 ; unsympa- 
thetic, 100. 

Impersonation, belongs to undignified 
speeches, 102, 107; danger of, 99, 
101 ; epic, in Nathan, 109-110; in 
Christ, iio-iii ; not highest element 



of dramatic, 98-102; preceded by 
participation, 100-101. 

Inflection (xix.) , 172-183 ; absence of, 
shows lack of thought, 182 ; accentu- 
ated with all modulations, 269; al- 
ways in conversation, 172; cannot 
be shown by marks, 307-308 ; chiefly 
intellectual, 228 ; developed by vary- 
ing attitude of mind, 182, by definite 
thinking, 178, 182-183; direction of, 
shows speaker's attitude of mind, 
173; rising, 173, falling, 173; element 
of melodic form, 184 ; exegetical 
value of, in parable of talents, 177, 
183 ; illustrated by 2 Corinthians xi., 
22-29, I 7S~ I 7^ > 'i importance and 
number of, 177, 183 ; length of, 
shows degree of intensity, 178 ; 
abruptness in, shows excitement, 
and control, 179; more emphatic 
with pause, 260; nature and mean- 
ing of, 172-173 ; necessary to ac- 
centuation of form, 264; needed 
in prayer, 180 ; not affected by feel- 
ing, 228 ; not determined by phrase- 
ology, 173-174; primary method of 
emphasis, 265 ; united to color, 228 ; 
straightness of, 181 ; varied, 178-182 ; 
see Melody, Emphasis, Modulations. 

Instinct, assimilative, 238 ; dramatic, 
233-243 ; imagination and sympathy 
in, 234-236 ; logical, 168 ; settles many 
questions, 241 ; must be trusted, 362- 
363 ; see Dramatic, Epic. 

Instruction, basis of oratory, 73 ; Paul 
before Agrippa, 73, at Athens, 74; 
see Didactic. 

Intellect, meaning of, 228-229. 

Introductory exercises, shows neglect 
of worship, 21-22. 

Intuition, must be trusted, 327, 362-363. 

Irving, epic in " Dr. Primrose," 107. 

Interpretation, art needed in, 46, 117- 
119; of Parable of Prodigal Son, 
121-132; literary study needed for 
(iv.) , 43-58 ; demands sympathy, 57 ; 
dramatic (x.), 93-103; illustrated by 
Psalm xxiii., 47, xc, 51, Book of 
Job, 50 ; must show method, 168 ; 



376 



INDEX 



needs epic spirit, 104-116; function 
of vocal, 134 ; of didactic, 68-70 ; of 
indignation, 76; of oratoric, 73; of 
rebuke, 75 ; of tenderness, ^^ ; see 
Expression, Reading, Vocal Expres- 
sion. 
Isaiah, call of, illustrates change of 
pitch, 164; character of, 72; con- 
trast in rhythm, 147 ; imagination of, 
215, 227-228 ; oratory of, 72, 77-82 ; 
on Assyria, 80-81; passion of, 79; 
tenderness of, jj, 81; transition in, 
271; i. 1-2, 147, 271; v. 1-25, ix. 
8, x. 1-4, v. 26-30, 78-80 ; v. 7, 176 ; 
vi„ 164-165; viii. 13, 312; x. 1-4, 
179; xxviii., 222; xxix., 80-81; xxx., 
80; xl., 226-227; xl. 15, 252. 

James, illustrates colloquial, 70; i. 12- 
19, 181; i. 13, 250; ii. 1-13, 195-196; 
ii. 3, 250; ii. 14-26, 70; ii. 18, 273; 
iii., 70, 273. 

Jehovah, lesson of, to Elijah (1 Kings 
xix.) , 243. 

Jeremiah, experience of, in Psalm 
lv., 219-220; i. 1-3, 272; xvii. 5-8, 
275 ; xxviii. 

Jerusalem, Isaiah's orations to, 78-81. 

Jesus, bearing of, 120; climax of 
oratory, 82 ; delivery of, 120-121 ; 
dialogue with Simon, 97 ; his per- 
suasion, 82; variety of his emotions, 
114-115; see Master. 

Jezebel, words of, dramatic, 242. 

Job, Book of, theme in, 95 ; dramatic, 
95 ; necessity of literary study, shown 
by, xiv. 1-12, 50, 51; i. 15, 313; 
xxviii., 201-202; xxxviii. 1-11, 155. 

John, range of voice in, viii., 193 ; unity 
of modulations in, ix., 275-283 ; iii. 
16, 272-273 ; iv., 182, 253-254 ; v. 33, 
304; vii. 38, 302; viii. 12-59, 272; 
viii. 31-59, 192-193; ix., 275-283; ix. 
34-35, 109; x. 1-18, 147; xiv. 1-4, 
147, 291 ; xx. 11-18, 267-268 ; xxi. 
15-17, 39, 153, 180, 255-256, 305. 

1 John iii. 3, 191. 

Jonah, a poetic book, 84-85 ; interpre- 
tation of, 85 ; misunderstood, 84-85. 



Joshua, reading of the Law, 17; viii. 

34-35- 17- 
Justin Martyr, on early worship, 19. 

Key, change of, at close of story of 
Naaman,66, 115; in epic transition, 
109, 116; in passing from negative 
to positive, 207 ; in 1 Corinthians xv. 
58, 170; see Change of Pitch. 

King Lear, true, 49. 

1 Kings xviii-xix., 289, 107-108 ; 241- 
243, xviii. 18-38, 107 ; xviii. 27, 102, 
107, 181 ; xix., 242. 

2 Kings v., 62-66; v. 25-27, 115. 

Language, mastery of, helps thought, 
361-362 ; nature of, 43 ; necessary to 
accentuate thinking and feeling, 140. 

Lazarus, epic elements in story of, 113. 

Leader, first words of, important, 339- 
340 ; important in responsive reading, 
330; must have rhythm, 330; must 
lead in responsive reading, 330. 

Lectionaries, Jewish, 17-19 ; influenced 
canon, 19. 

Lepers, ten, Luke xvii. 11-20, 268. 

Lesson, Scripture, distinct from sermon 
and prayer, 10-12; favorite to be 
chosen to illustrate all principles, 
Preface, vii. ; importance of right ar- 
rangement, 288-290 ; must be spir- 
itually realized, 295-297 ; preparation 
of (xxviii.) , 293-297 ; preparation of, 
specially needed, 293-297 ; selection 
and arrangement of (xxvii.), 287- 
292; should not always be of the 
same length, 291 ; should be ar- 
ranged by each reader for himself, 
288 ; unity of, illustrated by story of 
Abraham, 288-289, Elijah, 289-290; 
Paul and Peter, 290. 

Literal, poor reading makes all, 326. 

Literary, forms of, not artificial, 133, 
compared, 133 ; relation to voice, 
134-135; spirit (iv.), 43-58; and 
vocal expression, 133-136 ; study 
necessary, shown by Job xiv. 1-12, 
50-51 ; Psalm xxiii., 47-48 ; Psalm xc, 
51 ; Isaiah xl., 359-360 ; study, 356, 



INDEX 



377 



how related to critical and devo- 
tional, 359-360, may be artificial, 50, 
not sufficient, 55. 

Literature, all sacred, 48 ; implies hu- 
man voice, 134; natural, 133; of 
power, 213; spirit of, in Bible, 43-58. 

Liturgies, should be studied, 340. 

Logic, gives laws to reading, 151 ; basis 
in method (xviii.), 167-171 ; instinct, 
168 ; governs vocal expression, 174 ; 
inflection, language of, 172. 

Lord's Prayer, how rendered in the 
service, 345; repetition should be 
rhythmic, 344, 345. 

Lost piece of money, Luke xv. 8, Biblical 
custom in, 296-297. 

Lost sheep, parable of, analyzed, 26-27. 

Loudness, abnormal, 320, 321, 322. 

Lowtk, Robert, discovered parallel- 
isms, 88. 

Luke, Book of, a letter, 67 ; dialogue 
in, vii.,97; dramatic movement in, 
253; epic elements in, 113; method 
and melody in, 187-189; ii. 16, 146; 
ii. 41-52, 253 ; iii. 23-38, 287; iv. 1- 
15, iio-iii; iv. 16-30, 18; vi. 20-49, 
212; vii. 11-16, 226; vii. 36-50, 97, 
233; vii. 47, 183; vii. 41, 42, 274; 
viii. 16, 176; ix. 28-45, 199-200; 
x. 25-37, 187-189; xiii. 31-35, 82; 

XV. 1-2, 26; XV. I-7, 26-3I, 240; 

xv. 11-32, 6, 55, 121-132; xvi. 19-31, 
113; xvii. 11-20, 250-268 ; xvii. 20, 8; 
xviii. 9-14, 238-239; xix. 1-10, 256; 
xxiii. 39-43, 98; xxiv. 13-35, 249; 
xxiv. 31-32, 98. 
Lyric, always rhythmic, 86; compared 
with epic, 135-136 ; concise, 87 ; de- 
fined, 86 ; elements of, 88 ; expres- 
sion of Biblical, 90-91 ; dangers in 
reading, 91, 92 ; great, Watts-Dunton 
on, 87; ignoble emotions in, 91; 
musical instrument in, 87 ; origin of, 
86-87 ". parallelism as rhythm in, 90; 
prayer a form of, 87 ; sincerity and 
unconsciousness of Hebrew, 87-88 ; 
spirit (ix.), 86-92; transitions in, 91 ; 
see Imagination, Dramatic, Epic, 
Psalms. 



Macbeth, motive of, 72. 

Malefactors, account of, dramatic, 
Luke xxiii. 39-43, 98. 

Mark i. 35, 153; iii. 35, 174; iv. 21, 
36, 176; x. 17-22, 98; xii. 1-12, 
256. 

Marking, for emphasis, 305-306 ; in- 
adequate, 307 ; cannot show color 
and movement, 308 ; only temporary, 
308. 

Mary, in the Garden, transitions, 267- 
268. 

Master, art of (xii.), 117-132; charac- 
teristics of his delivery, 120; com- 
pelled to use art, 117-119; see Jesus. 

Matthew iv., contrast of devil and 
Christ, 196; v., vi., vii., Sermon on 
Mount, 202-211; xi., transition in, 
272; importance of inflection, 177; 
xxvi., 36-46; passion in Geth- 
semane, 232-233; i. 21, 304; ii. 6, 
300; iii. 1-4, 269; iv. i-n, 196; v. 
1-3, 203 ; v. 1-9, 148 ; v., vi., vii., 202- 
212; vi. 9-13, 344-345 ; vi. 1-6; 19-23, 
274; vii. 27, 153; vii. 28-29, I2 °; x - 
21, 302; xi. 1-6, 272; xii. 18-21, 147; 
xxiii. 13-38, 179; xxv. 14-31, 177; 
xxv. 33-35, 75, 199; xxvi, 36-46, 232; 
xxvi. 56, 101; xxvii. 11, 303. 

Meditation, silent, before service, 342- 
343; part of preparation, 295; shown 
by emphatic pause, 265. 

Melody, and method in good Samari- 
tan, 187-189; elements of, 184-185; 
extended in earnestness, 186-187; 
relation to emphatic pause and 
rhythm, 187; inflection and change 
of pitch in, 264 ; see Change of 
Pitch, Infection, Range. 

Mefital actions, how accentuated, 140. 

Method, explained, 167-168; in think- 
ing (xviii), 1 67-17 1 ; instinct of, in 
vocal expression, 168 ; pause in rela- 
tion to, 187. 

Micah, dramatic elements in, 95 ; vii. 
11, 312. 

Mill, John Stuart, on languages, 305. 

Miyiisterial tunes, 193-196; attention 
must be accentuated to correct, 193 ; 



378 



INDEX 



cause of, 260 ; central ideas must be 
accentuated, 194; corrected by ac- 
centuating thinking, 193, by touch, 
149 ; dialogues, 196 ; emphatic pause 
tends to correct, 194; perversion 
of form and color, 228 ; feeling usurps 
place of thought in, 260; frequent, 
193 ; genuineness needed, 195 ; mean- 
ingless changes of pitch, 195 ; mis- 
use of inflection, 194 ; must not be 
feared, 194; purpose aids in curing, 
194 ; range of voice must be in- 
creased, 194 ; rhythm at expense of 
melody, 195 ; shows weakness, 323 ; 
lack subordination, 194. 

Miriam, song of, 90 ; instrument of, 87. 

Modulations of voice, abridged explana- 
tion of, 24-25 ; actions of mind, cause 
of, 143 ; all united, 259-283 ; and 
their relations, 257-283 ; combined for 
emphasis, 263-264 ; complement each 
other, 357-358 ; emphasis result of 
their accentuation, 263-268 ; enumer- 
ated and defined, 24-30 ; how to dis- 
cover, 24-25 ; increase in one requires 
increase in others, 320-321 ; nature 
and relations in John ix., 275-283 ; 
practised to show contrast in, Psalm 
i.,171 ; rhythmic, 143-155 ; should be 
practised together, 270; simultane- 
ous, 307; summarized, 259-261 ; their 
union, tests, power, and expression, 
320; unity of, cannot be shown by 
marks, 307-308 ; unity of, shown by 
John ix., 275-283 ; see Expression, 
Movement, Reading, Unity, Vocal 
Expression. 

Monologue, Psalm xc, 51-52. 

Monotony, corrected by change of pitch, 
161, by pause, 145, 156, by thinking, 
161, 182; danger of, in reading lyric 
poetry, 92 ; in Scripture reading, 161 ; 
in prayer, 8-9 ; in service, cause of, 
337; of movement, 269; of pitch, 156; 
of thinking, 156 ; removed by ac- 
centuating discrimination, 156-157 ; 
sameness, 319-320 ; see Faults, Min- 
isterial Tunes. 

Monroe, on Bible reading, 12. 



Moses, call of, Exodus iii., 113; Psalm 
xc, gives experience of, 51-52. 

Movement (xxv.), 244-257; brings 
whole lesson into unity, 256 ; change 
of, 170 ; defined, 244-245 ; of every 
clause, thought, and feeling, 255 ; not 
time, 244-246 ; emphasizes clause or 
sentence, 247, 268 ; fundamental ele- 
ment in delivery, 247; harmonizes 
voice modulations, 260-261 ; illus- 
trated by Acts i. 6, 250, application 
of parables, 256, appeal to Peter, 254, 
comparisons, 248, 1 Corinthians xv. 
35-49, 248, death of Sapphira, 255, 
Deuteronomy xxxiii. 34, 255-256, 
dialogue or characters, 253-254, 
Emmaus, journey to, 249, Ezekiel 
xxx vii. 1- 10, 249-250, figures and 
thought, 248, Galatians i. 1, 252, 
Hosea xiii. 3, 253, xiv. 5-8, 253, 
introduction to parables, 257, Isaiah 
xl - I 5, 2 53. James i. 13, ii. 3, 251, 
John xxi. 15-18, 305, lepers, 250, 
Luke ii. 41-52, 253, xvii. 11-19, 
249, xix. 1-10, 250, xxiv. 13-35, 2 49> 
narration, 253, parenthesis, 251, 
quotation, 250, regret, 255, similes 
and metaphors, 252, sublimity, 255, 
wonder, 249-250, Zacchaeus, 256; 
importance of, 247; interprets illus- 
trations and contrasts, 248 ; mean- 
ing of, 244-246; more than transi- 
tion, 255 ; musing different from 
thinking, 141 ; often overlooked, 
256 ; relation to other modulations, 
260-261; rhythm, chief element of, 
244-246; shown by waves, 244-245; 
by walk, 245 ; transitions shown by, 
255 ; united to tone-color. 268-269. 

Naaman, story of, analyzed, 62-66. 

Name, ineffable, 366-367. 

Narrative Spirit (v.), 59-66. 

Nathan, epic element in story of, 109- 
110; rebuke of, 75. 

Natural, languages, necessary, 140. 

Naturalness, based on conversation, 
6 ; change of pitch, 160-166 ; conver- 
sational form, 186-187 ; depends on 



INDEX 



379 



melodic form, 186; enlargement in 
proportion, 34 ; epistle of James, 70 ; 
perversion of the word, 362. 

Nature, universal rhythm in, 141. 

Nazareth, Jesus at, 18. 

Negative, accidental, 241 ; " but " in 
Sermon on Mount shows contrasts, 
207; contrast with positive, shown 
by direction of inflection, 176 ; dan- 
ger of, in didactic reading, 69 ; must 
be distinguished from positive, 240. 

Neglect, of Scripture reading, 21-23 ; 
of preparation, 296. 

Nehemiah, reading Law, 17 ; viii. 8, 17. 

Neutrality, corrected by imagination 
and sympathy, 235-236; danger of, 
in didactic reading, 69; destroys 
feeling, Acts vii. 235. 

Nicodemus, end of Christ's speech to, 

273- 
Nouns, and pronouns, repeated in 
Hebrew, 312. 

Old sermons, effect of, in preaching, 
294. 

Omissions, in arranging Scripture les- 
sons, 289; necessary in some lessons, 
288 ; phrases, 288-289. 

Orations of Isaiah, patriotic, 80-81. 

Oratory, as an art, 72-73 ; Bible full of, 
71-72; expanded conversation, 6; 
must influence audience, 72-73 ; 
must not be antagonistic, 74 ; of 
Isaiah, 78-82; of the Master, 82; of 
Paul, 73-75; purpose in, 73; spirit 
of (vii.), 71-82. 

Pantomime, affects vocal expression, 
334i 345 1 attitudes contrasted with 
gesture, 334, 335 ; see Gesture. 

Parable, application of, 275, and should 
be studied as art, 118-119; different 
from illustration, 274 ; dramatic, 96- 
97 ; introduction to, 256 ; must not be 
strained, 131; nature of, explained, 
120-132; necessity of, in human 
teaching, 83 ; of Prodigal Son, mis- 
named, 121, illustrates epic, 121, 
expression of, analyzed, 121-132; of 



vineyard, movement of, Mark xii. 
1-12, 256; poetic, 54; should have 
unity in delivery, 188 ; see Art. 

Paragraplis should be made by the 
reader himself, 292. 

Parallelisms, discriminations of, in 
Psalm cxxxix. 5, 89 ; form of rhythm, 
88-89, 3*5 '» emotional transitions of, 
89 ; Ewald on, 52-53 ; importance of, 
52 ; in Hebrew poetry, help of, 52-53 ; 
not all elements enumerated, 80-89 '» 
Lowth, Robert, discovered, 88 ; 
principle of, shown in Tennyson's 
" Crossing the Bar," 315. 

Parenthesis, shown by movement, 251- 
252 ; subtle discriminations of Psalm 
xci. in, 157-158. 

Passion, in Hebrew poetry, 314; of 
David over Absalom, 232. 

Pathos, strong or weak, 321, 36. 

Paul, address at Athens, 74; arrest of, 
Acts xxi. 15-xxiii. n, 290 ; aroused his 
audience, Acts xxiii. 1-10, 74 ; before 
Agrippa, Acts xxvi., 73 ; his method 
of introducing speeches, 73-74 ; illus- 
trations of, 169-170 ; letters of, didac- 
tic, 67-68, read in different churches, 
18; method of, 169-170; spirit of 
oratory in, 73-75. 

Pause, element of rhythm, 144; as a 
remedy for monotony, 145 ; con- 
tinuity of thought, 146; emphatic, 
147 ; how to increase number, 147 ; 
intimately related to inflection, 260; 
justified by change of pitch, 162; 
long needed in epic transition, 115 ; 
necessary for breathing, 146; for 
feeling, 146 ; not hesitation 145 ; 
problems in, 147-148. 

Perowne, on Psalm xix., 199. 

Persuasion, examples of, in Isaiah, 82. 

Peter, abrupt inflections of, 180 ; appeal 
of, to the Master, John xxi., illus- 
trating movement, 254-255; arrest 
and deliverance of, lesson on, 290; 
impersonated because of lack of 
sympathy, 99. 

1 Peter ii. 7, 302. 

Pharisee and publican, prayers, dra- 



38o 



INDEX 



matic instinct in, Luke xviii. 9-14, I 
238-239. 

Phrasing, actions of mind determine, I 
152 ; effect of thinking, 150 ; ele- 
ments f in, 131 ; explained, 150 ; logic 
governs, 151 ; natural in conversa- 
tion, 150; rules no help in, 131. 

Pictures, in Psalms and Prophets, 214. 

Poetry, dramatic, 52, 94 ; forms of, 104 ; 
in Psalm xxiii., 47; Psalm xc, 51; 
half of Bible, 49; Hebrew, difficulty 
of reading, 314; must be studied, 47, 
51-52, 85 ; not in literary phraseology, 
54; of Bible not distinguished, 54- 
55 ; parables, 54-55 ; see Literature, 
Lnagination. 

Point of view, importance of, in dra- 
matic instinct, 98 ; necessary in dia- 
logues, 253-254 ; question of, in case 
of Elijah, 101 ; of race in epic, 108. 

Positive, and negative, sympathy in, 
must be distinguished, Matthew v., 
240 ; see Negative. 

Postponement, indicates emphasis in 
Greek, 301-302; in Hebrew, 312. 

Practice, for argument, 187 ; for change 
of pitch, 157, 162, 164 ; for direction 
and length of inflection, 175-179 ; for 
epic and dramatic, Parable of Prod- 
igal Son, 121-131; for movement, 
248-256; for range, 191-195; for 
rhythm, 147-150; for subordination, 
189 ; for tone-color, 230-232 ; for 
union of modulations, John ix., 275- 
282; for variety of feeling, 231; for 
variety of inflections, 180; must not 
be thoughtless, 317 ; see illustrations 
at close of all lessons ; these can be 
easily arranged into definite prob- 
lems and exercises. 

Prayer, attitude of, 7-8 ; belongs to 
vocal expression, 9-10, 349-350; con- 
templative, 338 ; lyric, 9 ; nature of, 
6, 10, 349, 350 ; of Pharisee and pub- 
lican (Luke xviii. 9-14) , 240 ; peculiar 
in delivery, 8-10 ; relation to rest of 
service, 338 ; requires thought, 180 ; 
spiritual, 349-350; subjective, 9-10; 
see Epic, Lyric, Service. 



Prayer-book, address to the people, 343 ; 
alternate sentences, 349 ; command- 
ments, 350 ; declaration, 344 ; de- 
scription of, 349-350; Epistles and 
Gospels, 350 ; general confession, 
343 ; history of, 340, 349-35° \ Lord's 
Prayer, how rendered, 343 ; prayer, 
349-350 ; reading of the Psalter, 345- 
346; repetition of the Creed, 348- 
349 ; right to change, 341 ; Scripture 
lesson in, 347-348 ; service analyzed, 
340-354 ; should be consulted in 
selection of lessons, 288 ; should be 
studied by all, 340, 352 ; transition after 
the Commandments, 351 ; transition 
from Old Testament to New Testa- 
ment lesson, 348 ; two faults in ren- 
dering of, 351 ; Wesley, for the 
Methodists, 341. 

Preacher, offices of, in worship, 1 ; de- 
livery of, 5-6, 230 ; final appeal of, to 
the Bible, 355 ; see Delivery. 

Precedence, indicates emphasis in 
Greek, 298-300; in Hebrew, 311. 

Preparation of Lesson, xxviii., 293-297 ; 
first step, selection, 287 ; must be 
renewed, 294 ; necessary, 295, 363 ; 
neglected, 293-294; reader should 
not remain in attitude of, 361-362 ; 
should be thorough, 295-296. 

Problems, see Practice. 

Prodigal Son, parable of, art of Master 
shown by, 121-132 ; attitude of mind 
illustrated in, 239; centre of, 126, 
129; poetic, 55. 

Pronouns, expressed, for emphasis in 
Greek, 303-304; in Hebrew, 363. 

Prophets, dramatic element in, 96; 
speeches of Is. xxviii., 223-223; of 
Isaiah xxx., 31 ; function of, 71-72. 

Proverbs, illustration of didactic, 67-70 ; 
not cold, 69; should be read se- 
riously, 69 ; thinking should be ac- 
centuated in, 67; i. 9, 252. 

Psalms, develop tone-color, 316 ; dis- 
crimination of ideas illustrated by, 
lxxxiv. 11, 162; by xci., 157-158; 
xcvii., 161-162 ; cii. 6, 7, 162 ; civ., 
162 ; headings of, 216-217 i imagina- 



INDEX 



381 



tion needed, 214-223 ; necessity of 
literary study illustrated by figures of 
Psalm xxiii., 47-48; by dramatic ele- 
ment in Psalm xc, 51-52; illustra- 
tions of, important, 215-223; illus- 
trated by xxxiv., 217 ; xlvi., 217; lv., 
219-220; civ. 7, 8, 219; personal, 
illustrated by xci. and cxxxix., 221; 
vocal expression of, accentuates 
rhythm of thinking and feeling, 89, 
90; i. 28, 171, 218; viii., 148; xix., 
197-199 ; xxiii. 47-48, 150 ; xxvii. 2, 
313; xxxiv., 217; xlvi., 218; lv. 5-8, 
220; Ixv., 154; lxxxiv., 45, 147, 166; 
Ixxxiv. 11, 162 ; xc, 51, 52 ; xci., 157- 
159, 220; xcvii. 2, 161-162, 313 ; cii., 
6-7, 162; cii. 25-27, 149; civ., 162, 
219; civ., 7-8, 219; cxvi., 149; cxxv., 
1-3, 155 ; cxxxix., 221 ; cxxxix. 5, 89 ; 
cxlvi., 9-10, 149 ; cxlvii., 2-5, 149 ; see 
Problems, Poetry, Lyric. 
Psalter, advantage of, to the reader, 
347 ; danger in rendering, 346 ; func- 
tion of, 346 ; not intellectual, 345, 346 ; 
peculiarity of, in rendering the ser- 
vice, 345-346; secures attention, 347. 

Questions, special, in Bible Reading, 
xxxiii, 331-336. 

Quotation, James ii. 18, 273; move- 
ment of, 251 ; dramatic, 243 ; from 
David not sympathetic, no; from 
Satan, in; see Dramatic, Epic, 
and Movement. 

" Rabboni," as uttered by Mary, 268. 

Range of voice, needed, 191 ; illustrated, 
John viii. 31-39, 192; increased by 
earnestness, 186-187 '» m speech, 191- 
193 ; relieves voice, 191. 

Reader's attitude (xxxv.) , 355-367. 

Reading aloud, test of good version, 
309 ; at prayer and conference meet- 
ings, 328 ; before Bible was printed, 
20-21; first words important in, 339; 
good, shown by strength, 321, by 
truthfulness, 318, by unity, 319-320 ; 
of Bible, danger in, 270, importance 
of, 214 ; important in early church, 



19-20 ; nature of, 10-16, 347, 348 ; 
peculiar, 31-39 ; poor, described, 
150 ; see Scripture Reading. 

Rebuke, how those of Bible are given, 
76; Nathan's of David, 75, 109; 
epic, no. 

Repetition, in Greek, 303-304; in He- 
brew structure, 312-315; indicating 
emphasis, 303. 

Repose, how shown by long inflections, 
179; test of good reading, 324. 

Resonance of voice, modulated by the 
sublime, 26. 

Responsive reading (xxxii.), 328-330; 
aid to preacher, 329; arguments 
against, 329 ; elements of rhythm in, 
329-330 ; importance of, 329 ; im- 
portance of leadership in, 330; 
peculiarities of, 324, 329, 330 ; Psalms 
and poetical books best adapted for, 
328. 

Resurrection, Paul's discussion of, 
169-170. 

Revised Version, poetic books of, 
poorly translated, 332. 

Rhythm, action of mind in (xiv.), 139- 

142 ; characteristic of thinking, 140 ; 
defined, 89; elements of, must be 
emphasized in Old Testament read- 
ing, 316; emphasis in, 153 ; exercises 
to improve, 195-196 ; first element 
in all art, 315 ; how to realize, 141- 
142; illustrated by walk, 244-246, 
by waves, 244-246 ; importance of, 
in Hebrew, 315-316; in Prayer-book 
service, 341-354 ; in nature, 141 ; in 
modulations of voice (xv.), 143-155 ; 
in responsive reading, 329-330 ; 
modulations of, in movement the 
chief method of emphasis, 268 ; not 
to be feared, 195; of expression, 
caused by rhythm of mind, 143; of 
Psalter, 345-346; of songs, 88-89; 
of thinking, 154; must be first ac- 
centuated to improve delivery, 141, 
154 ; pulsations illustrated, 247-248 ; 
relation to melody, 187 ; silence in, 

143 ; sing-song a fault of, 163. 
Romans viii. 1-11, 148 ; x. 6-8, 8. 



382 



INDEX 



Salvini, epic in Saul, 107. 

1 Samuel xvii. 36, 311 ; xxv. 24, 313. 

2 Samuel xii. 1-15, 109-110 ; xii. 7, 75 ; 
xvii. 5, 313 ; xviii. 31-33, 150, 233. 

Sarcasm shown by circumflex inflec- 
tion, 181. 

Scripture reading, chief peculiarity of, 
12-16; distinct from sermon and 
prayer, 10, 16; neglected, 21-22; 
preparation neglected, 296; special 
forms of, 328-330 ; see Bible Lesson. 

Selection, and arrangement of lesson 
(xxvii.), 287-292; principles, 291. 

Self-criticism (xxxi.), 317-327. 

Sennacherib, Isaiah's reference to, 81. 

Sentences, introductory, delivery of, 
341 ; importance of rhythm in, 341 ; 
use of, in service, 341. 

Separation in Greek indicates empha- 
sis, 302. 

Sermon, delivery of, 3-6 ; ideal, 4-6 ; 
on the Mount, argument of, 202- 
211. 

Service, harmony of (xxxiv.), 337-354; 
dangers in reading, 351 ; each part 
of, should have character, 338 ; early 
Christian, informal, 18 ; emotion in, 
must be genuine, 352; importance 

of. 337- 

Shakespeare, knowledge of Bible, 21 ; 
truth of, 49. 

Sheep, hundred, parable of, 26-28. 

Shepherd, figure of, in Psalm xxiii., ex- 
plained, 47-48. 

Siddons, Mrs., love of epic, 112. 

Silence, and speech, when rhythmic, 
143 ; a part of the service, 342 ; and 
opening sentences, 342; in prayer, 
importance of, 353 ; as part of ser- 
vice, 353. 

Similes and metaphors shown by 
movement, 252 ; see Illustration. 

Simplicity a test of art, 319. 

Sing-song defined, 163. 

Situation, in Psalm xxxiv., 217 ; in 
Psalm xlvi., 218 ; of epistles, 221 ; of 
parables, 221. 

Smith, George Adam, on recognizing 
Biblical poetry, 85 ; on Jonah, 84-85. 



Sodom, destruction of, an epic story, 
115 ; as a lesson, 288-289. 

Song of Solomon, dramatic, 95. 

Speech and silence, alternate rhyth- 
mically, 143. 

Spencer, Herbert, on economy and 
style, 314. 

Spiritual, can only be suggested, 327 ; 
feeling shown by pause and touch, 
154; realization of message, neces- 
sary, 295 ; last step in the prepara- 
tion, 355-356. 

Spoken word, illustrated by the inef- 
fable name, 366-367. 

Spurgeon, reading of Bible, 333; his 
commenting on the Scriptures, 333. 

Story, of Abraham, 289 ; of Bible, 
popular, 61 ; dramatic, 96 ; of Elijah, 
288-289; how to tell, 60; important 
in literature, 59 ; must have perspec- 
tive, 61 ; must move, 60, 61 ; of 
Naaman, 2 Kings v., 62-66. 

Strong man, methods of expression in, 
36, 321-336. 

Study, of Bible, thorough, needed, 46 ; 
three kinds of, illustrated, 356, 360 ; 
all necessary, 357; see Bible. 

Subjective, Psalms, 90-91 ; Scripture 
reading, 10-16 ; prayer, 8-10. 

Sublimity, interpreted by sympathy, 
243 ; only suggested, 325. 

Subordmation, and attention, 190 ; and 
emphatic pause, 190, 260; and 
thought, 190; does not destroy 
melody or rhythm, 190; gives per- 
spective, 189-190; importance of, 
189 ; illustrated 1 John iii. 3, 191 ; 
lack of, causes monotony, 189-190; 
often violated, 189; relation to 
melody, 189. 

Sympathy, and assimilation (xxiv.), 
233-243 ; causes words of David 
and devil to be given dramatically, 
iio-iii; words of Peter, 99; de- 
pends upon imagination, 212; dis- 
tinguishes positive from negative, 
240-241 ; dramatic and epic, Prodi- 
gal Son, 120-132, degrees of, in, 98, 
in; dramatic may be antithetic to 



INDEX 



383 



true, 98 ; element of dramatic in- 
stinct, 94, 233-243 ; found in explan- 
atory clauses, 98-99 ; genuine, in 
epic, 99; needed in sublimity, 244; 
instinct of, decides many questions, 
illustrated by Elijah, 241 ; of Jesus 
for young man, how shown, 98; 
precedes impersonation, 98; true, 
requires man to be himself, 98 ; with 
another age necessary, 57. 
Synagogue, readings in, 17; Christ in 
the, 18. 

Talents, parable of, inflection in, 177. 

Temptation, story of, epic and dramatic 
elements in, 110-111, 196. 

Tenderness, in Isaiah, 81 ; not senti- 
mental, 322 ; more difficult to express 
than anger, jj. 

Tennyson, " Crossing the Bar," illus- 
trates Hebrew parallelisms, 315 ; on 
suggestiveness, 325. 

Testament, Twentieth-century, New, 
makes arguments of epistles clear, 
54, 333 ; poor in parables, 54-55. 

Tests, centrality, 324 ; exaggeration, 
322-323 ; ideality, 321-322 ; organic 
unity, 319-320; reading, 317-328; 
repose, 324; self-criticism (xxxii.), 
317-327 ; simplicity, 319 ; strength, 
321-322 ; suggestiveness, 325 ; truth- 
fulness, 318. 

Theories hinder Bible reading, 44. 

Thinking, accentuated by elements of 
vocal expression, 139; attention in, 
139; can be accentuated, 139-140; 
different from musing, 141 ; discrimi- 
nation in (xvi.), illustrated by Psalm 
xci., 156-159, Job xxxviii. I-11, 155; 
helped by expression, 264; primary 
aim of language, 67 ; rhythmic, 139- 
141 ; rhythm of, made conscious in 
true reading, 141-142 ; tends to cor- 
rect faults in voice, 336. 

2 Timothy iv. 5, 303. 

Tone-color, cannot be marked, 308 ; de- 
veloped by practising the Psalms, 
316; expresses imagination, 226; ex- 
presses feeling, 228, 231 ; illustrated 



by Mary meeting Jesus, John xxi. 11- 
18, 180; by Mary in the Garden, 267- 
268; by story of Naaman, 62-66; in 
emphasizing one word, 267 ; language 
of feeling, 225 ; modulation of reso- 
nance, 225 ; most unconscious ele- 
ment in expression, 226; not often 
on the street, 226; not subject to 
rule, 226 ; unconscious, 225. 

Touch, accentuating of, 149-150; be- 
longs to rhythm, 144; element of 
naturalness, 149 ; important in 
Scripture reading, 149; illustrated, 
149-150; least changeable, 148; lo- 
cates attention, 148 ; meaning of, 
148-149 ; in rhythmic alternation with 
pause, 148 ; shows will, 148. 

Tragedy, why high form of dramatic, 
105 ; why epic is higher, 106. 

Transition, abrupt, requires changes 
in many modulations, 270; after 
commandments, 351; Biblical diffi- 
culties of reading, 92; delicate in 
Psalm cxxxix. 5, 89; emphatic, 275 ; 
end of quotation, 272-273 ; epic in 
1 Kings xix., 242-243; from expla- 
nations to Master's words, 272; ex- 
amples of, 275-233 ; explanation to 
quotation, 271 ; expression of, 270; 
from parable to application, 275; 
Gospel to Epistle, 350; illustration, 
James iii. 3, 273 ; illustrated by story 
of Naaman, 62-66; importance of 
practising, 270-275 ; in Acts i. 9 and 
iv. 12, 13, 272; frequent in Bible, 
271 ; in epistles, 275 ; in Jeremiah i. 
1-4, 272; in quotation, 272-273; in 
Psalms, 91 ; in Prayer-book, 340- 
352; in service, 340-354; law of, 
271 ; one character to another, 272 ; 
prose to poetry, 90 ; thought to illus- 
tration, James iii. 13, Matthew vi. 
11-23, 273-274; to direct address of 
God, 91 ; 1 Corinthians xiii., 275. 

Translations of Bible, difference shown 
by indication of argument, Job 
xxviii., 201-202 ; new, prevent rever- 
ence for letter, 333 ; of poetry, poor, 
332. 



384 



INDEX 



Truthfulness of feeling, how to develop, 
231-232; in Psalm xc, 51-52; de- 
veloped by imagination, 232 ; impor- 
tant, 227-229 ; necessary in vocal 
expression, 295 ; test of good read- 
ing, 318. 

Unity, a test for self-criticism, 318 ; a 
test of good reading, 319; of all 
modulations, 320; destroyed by 
loudness, 321 ; higher in epic art, 
116; how developed, 320 ; of lesson, 
illustrated by account of Stephen's 
death, 200, by destruction of Sodom, 
288-289, by transfiguration, 199, by 
Zacchaeus, Luke xix., 256, by Elijah, 
289, by Paul, 290, by arrest of Peter, 
290; importance of, in arranging 
Scripture lesson (xxvii.) , 287-292 ; of 
modulations illustrated in John ix., 
275-283 ; nature of, 219-220 ; service 
must have, 339; of service, how 
secured, 354. 

Unnaturalness, nature of, 261-262; see 
Naturalness, Faults. 

Variety, developed by a joyous passage, 
166. 

Version, advantages of Authorized, 331; 
disadvantages in verse division, 291 ; 
Revised, 332, American Revised, 332 ; 
to be used, 331. 

Vision, reader must have his own, 327. 

Vocal expression, of allegoric, 135; and 
literary spirit (xiii.), 133-136; awak- 
ens faculties and life, 134 ; can 
show delicacy of Greek, 298-310, of 
Hebrew, 311-316; of epic, 114, 136; 
function of, how to find, Psalm i., 
28-29 ; nature of, 24-39, J 39- 2 83 ; 
governed by logic, 151, 173; helpful, 
364; a distinct language, 152; of a 
language, indicated by idioms, 304; 
in responsive reading, peculiar, 323- 
330 ; must be studied, 361 ; needed, 
140, 309-310; necessary in study of 
Bible, 134 ; needs thorough study of 



literature, 135 ; not improved by 
rules, 33, but by accentuation of 
thinking, 33-34; peculiarities of, in 
every language, 308 ; of prayer diffi- 
cult, 349-350 ; prayer a form of, 9 ; 
personal, and peculiar to each in- 
dividual, 32-33 ; struggle for, best 
helps emotion and mental action, 
140; thought and feeling must be 
living in, 295 ; truthfulness in, neces- 
sary as in words, 295; see Expres- 
sion, Modulations, Reading. 

Vocal interpretation, climax of literary 
study, 56. 

Voice, agility of, helped by free think- 
ing, 192 ; all parts should be brought 
into reading, 191 ; elements in, 186, 
function of, 185, melody belongs to, 
185 ; modulations, 259-283, always 
united in expression, 259-283; gen- 
eral nature of, 24-39, 138-283 ; unity 
of, test of good reading, 319 ; good, 
danger of being admired, 192 ; has 
little color on the street, 225 ; training 
should be separated from vocal ex- 
pression, 336 ; use of in Bible neces- 
sary, 366. 

Watts-Dunton on great lyric, quoted 

from " Encyclopaedia Britannica," 87. 

Weak man, methods of expression in, 

3 2I » 3 6 - 

Wendell, on paragraphing, 292. 

Wesley, liturgy for Methodists, 341. 

Whitefield, sermons unreadable, 5. 

Winter, William, on art, 117. 

Wisdom literature didactic, 67-70. 

Words, compared with vocal expres- 
sion, 31-33 ; different from modula- 
tion, 307 ; search for, right in clear 
thinking, 140. 

Worship, and wonder, 213 ; Bible in (i.) , 
1-16 ; Bible reading, part of, 335-356 ; 
three elements in public, 3. 

Zacchceus, story of illustrates movement, 
Luke xix. 1-10, 256. 



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